The political promise of music
September 2019
Sections
The Marxian tradition
Avant-Gardes
Folk music
Aesthetics
Further perspectives
- The Marxian tradition
- Avant-gardes
- Folk music
- Aesthetics
- Further perspectives
The Marxian tradition
- Adorno, Theodor. (1931) 2002. “Why Is the New Art So Hard to Understand?” In Essays on Music, edited by Richard Leppert, 127-134. Berkeley, Los Angeles & London: University of California Press.
- Benjamin, Walter. (1966) 2003. “The Author as Producer.” In Understanding Brecht, translated by Anna Bostock, 85–103. London & New York: Verso.
- Bennett, Tony. (1986) 2006. “Popular Culture and the ‘Turn to Gramsci.’” In Cultural Theory and Popular Culture: A Reader, edited by John Storey, 3rd ed., 92–99. Harlow & New York: Pearson Longman.
- [+] Brennan, Timothy. 2006. Wars of Position: The Cultural Politics of Left and Right. New York: Columbia University Press.
- Chapter 8, "The Southern Intellectual."
- Engels, Friederich. (1890) 1978. “To Joseph Bloch.” In The Marx-Engels Reader, edited by Robert C. Tucker, 2nd ed., 760–64. New York: W.W. Norton & Company.
- Gramsci, Antonio. (1971) 1999. Selections from the Prison Notebooks. Edited by Quintin Hoare and Geoffrey Nowell-Smith. London: The Electric Book Company.
- "Hegemony"; "Intellectuals"; "The State"; [+] "The Study of Philosophy"
- [+] Green, Marcus E. 2013. “On the Postcolonial Image of Gramsci.” Postcolonial Studies 16 (1): 90–101.
- [-] Hall, Stuart. 1980. “Race, Articulation and Societies Structured in Dominance.” In Sociological Theories: Race and Colonialism, edited by Marion Patrick Jones, 305–45. Paris: UNESCO.
- [canvas] Hebdige, Dick. 1979. Subculture: The Meaning of Style, London: Methuen.
- Horkheimer, Max. 1968. “Art and Mass Culture.” In Literary Taste, Culture and Mass CommunicationXII, ed. Peter Davison, Rolf Meyersohn and Edward Shils. Cambridge: Chadwyck Healey.
- Leppert, Richard, and Theodore W. Adorno. 2002. “Music and Mass Culture: Commentary.” In Essays on Music, edited by Richard Leppert, 327–72. Berkeley, Los Angeles & London: University of California Press.
- [canvas] Marcuse, Herbert. 1968. One Dimensional Man. London: Sphere.
- Marx, Karl. 1976. Contribution to the Critique of Political Economy. Peking: Foreign Languages Press.
- Preface; Introduction.
- Marx, Karl, and Friedrich Engels. (1932) 1978. “The German Ideology: Part I.” In The Marx-Engels Reader, edited by Robert C. Tucker, 2nd ed., 146–200. New York: W.W. Norton & Company.
- Okiji, Fumi. 2018. Jazz As Critique: Adorno and Black Expression Revisited. Stanford: Stanford University Press.
- [+] Roseberry, William. 1994. “Hegemony and the Language of Contention.” In Everyday Forms of State Formation: Revolution and the Negotiation of Rule in Modern Mexico, edited by Gilbert M. Joseph and Daniel Nugent, 355–66. Durham & London: Duke University Press.
- Sandoval, Chela. 2000. Methodology of the Oppressed. Minneapolis & London: University of Minnesota Press.
- Chapter 1: "Chapter One: Fredric Jameson: Postmodernism Is a Neocolonizing Global Force."
- [+] Srivastava, Neelam, and Baidik Bhattacharya. 2013. “Who Owns Gramsci? Response to Timothy Brennan.” Postcolonial Studies16 (1): 79–86.
- Storey, John. 2009. Cultural Theory and Popular Culture: An Introduction. Fifth Edition. Harlow & New York: Pearson Longman.
- [+] "Marxisms"; "Postmodernism".
- Williams, Raymond. 1977. Marxism and Literature. Oxford & New York: Oxford University Press.
- “Base and Superstructure”; [+] "Determination"; “Structures of Feeling”; “The Sociology of Culture" & [+] "Hegemony."
Avant-Gardes
- [-] Alonso-Minutti, Ana R., Eduardo Herrera, and Alejandro L. Madrid. 2018. “The Practices of Experimentalism in Latin@ and Latin American Music: An Introduction.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid. Oxford & New York: Oxford University Press.
- Cutler, Chris. 1985. File Under Popular: Theoretical and Critical Writings on Music. London: November Books.
- “Necessity and Choice in Musical Forms, Concerning Musical and Technical Means and Political Needs,” 126-169.
- Gopinath, Sumanth S. 2009. “The Problem of the Political in Steve Reich’s Come Out (1966): Avant-Garde Music and The Sixties.” In Sound Commitments: Avant-Garde Music and The Sixties, edited by Robert Adlington, 121–44. New York & Oxford: Oxford University Press.
- [canvas] Lewis, George E. 2008. A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press.
- [-] Piekut, Benjamin. 2019. Henry Cow: The World is a Problem. Durham & London: Duke University Press.
Folk music
- Gencarella, Stephen Olbrys. 2010. “Gramsci, Good Sense, and Critical Folklore Studies.” Journal of Folklore Research 47 (3): 221–52.
- Howkins, Alun. 2009. "The Left and Folk Song." History Workshop Journal 68 (1): 273-279.
- Jones, Brian. "Finding the Avant-Garde in the Old-Time." Volume 28, Number 4, Winter 2010, 28.4 (2010): 402-435.
- Limón, José E. 1984. “Western Marxism and Folklore: A Critical Reintroduction.” The Journal of American Folklore 97 (385): 337–44.
- ———. 2010. “Breaking with Gramsci: Gencarella on Good Sense and Critical Folklore Studies.” Journal of Folklore Research 47 (3): 253–57.
- Wooley, Amy Suzanne. 2003. “Conjuring Utopia: The Appalachian String Band Revival.” Doctor of Philosophy, Ethnomusicology, Los Angeles: University of California, Los Angeles.
- Zipes, Jack. 1984. “Folklore Research and Western Marxism: A Critical Replay.” The Journal of American Folklore 97 (385): 329–37.
Aesthetics
- Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London & New York: Verso.
- [-] Currie, James. 2009. “Music After All.” Journal of the American Musicological Society62 (1): 145–203.
- [+] [canvas] Rancière, Jacques. (2000) 2004. The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum.
- [canvas] Rancière, Jacques. (2004) 2009. Aesthetics and Its Discontents. Translated by Steven Corcoran. Cambridge & Malden: Polity Press.
- Shank, Barry. 2014. The Political Force of Musical Beauty. Duke University Press
- Steingo, Gavin. 2016. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago and London: University of Chicago Press. One Chapter.
- Preface; Chapter 1, "The Struggle of Freedom"; Epilogue.
Further perspectives
- [-] Barrett, G Douglas. 2016. After Sound: Toward a Critical Music. London & Oxford: Bloomsbury.
- [-] Drott, Eric. 2011. Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981. University of California Press.
- Kun, Josh. 2005. Audiotopia: Music, Race, and America. Berkeley, Los Angeles & London: University of California Press.
- Kutschke, Beate and Barley Norton, eds. 2013. Music and Protest in 1968. Cambridge & London: Cambridge University Press.
- Borio, Gianmario. “Music as Plea for Political Action: The Presence of Musicians in Italian Protest Movements around 1968.” 29–45.
- Drott, Eric. “Music and May 1968 in France: Practices, Roles, Representations.” 255–72.
- Kutschke, Beate. “In Lieu of an Introduction.” 1–11.
- Muller, Carol. “Spontaneity and Black Consciousness: South Africans Imagining Musical and Political Freedom in 1960s Europe.” 64–80.
- Small, Christopher. 2001. “Why Doesn’t the Whole World Love Chamber Music?” American Music 19 (3): 340–59.
- [-] Teitelbaum, Benjamin. 2017. Lions of the North: Sounds of the New Nordic Radical Nationalism. New York: Oxford University Press, 2017.