4 music self group

7/30/2019 4 Music Self Group

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Music and Identity

18th October

www.lel.ed.ac.uk/~s0897956/MusicPsych.html


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Suggested readings for this week

North & Hargreaves: 217 - 236

Rosenstone, R.A. (1969). The times, they are a-changin: The music ofprotest.Annals of the American Academy of Political and Social Science,382, 131 - 144

Watch: The Secret History of Eurovision - check YouTube


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Plan

Overview of concept of identity

Music and national identity

Music and teen culture

Music and protest


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Identity

Our self systems are made up of numerous self images which exist inrelation to particular situations in which were closely involved

Self identity - overall view of myself in which these self images areintegrated

Self identity is closely tied up with group identity

In-group vs out-group - very important in identity formation

Self Identity Theory (SIT) predicts that people develop a sense of socialidentity as well as a personal identity


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Music and self-identity

Faulkner & Davidson (2006): singing in an all-male choir provided both selfand gender identity for the members

Hargreaves, Miell & MacDonald (2002): We all have many identities, whichchange according to the social curcumstances

Music can intersect with these identities

During the week Im a PhD student, I tend to listen to calming music to helpme concentrate

At the weekend Im a 20-something, so I listen to pop and rock music

On Tuesdays Im a lecturer in Music Psychology, so perhaps I listen more toclassical/ high prestige music when preparing for this


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Role of music in group formation

Knobloch, Vorderer & Zillmann (2000) - If participants are told they sharemusical taste with an individual, they are more likely to appraise thempositively and to want to become their friend

North & Hargreaves (1999) - Participants responded more positively to an

individual if they were described as a fan of a prestigious (pop) rather thannon-prestigious (country) music genre

Suggests that in-group members evaluate each other more positively thanout-group


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Music and social identity theory

Tarrant, North & Hargreaves (2002) summed up the relationship betweenmusic and identity

Through the affiliation of their peer groups with certain styles of music,adolescents associate those groups with the meta-information which such

affiliation generates

Through intergroup comparison, this affiliation can be exaggerated ordiminished according to the value connotation of that meta-information, andin response to social identity needs

Young people associate groups with the prestige etc of the music they listentoThis can become more pronounced according to what other groups do


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Music and national identity

Folkestad (2002) distinguished between national identity, cultural identity, andethnic identity

Nationality is the cement that holds together different cultural and ethnicgroups, the sense of nation being the marriage between a legally-defined

state and culture

If considering nationality, we should consider questions of statehood andidentity

States that music plays a particularly important role in countries which have

had their legal and cultural sovereignty seriously threatened over extendedperiods of time


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Inside or Outside looking in?

Folkestad (2002) - inclusive and exclusive role for music in national identity

Inside-looking-in: group members use music as a way of strengthening bonds

Outside-looking-in: music enables outsiders to recognize a group asbelonging together

Again, strong effect of in- and out- group


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Case study: Eurovision!

Part of defining your identity is working out your relation to other groups

Eurovision gives us a great example of national identities

The history of modern Europe

In particular, Soviet vs European

Also, importance of songs for Bosnia etc


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Eurovisions real intentionswww.youtube.com/watch?v=YdF3EGeIAr8&feature=related


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USSR and Eurovision

Eurovision glitz and glamour seen as a symbol of Western fun and freedom -not desirable

Eastern bloc used an alternative to the Eurovision - the Intervision SongContest

Organised by Intervision, network of Eastern European tv stations - tookplace in Poland

Ran between 1977 and 1980 - replaced Sopot International Song Festival,held in Sopot since 1961

1981: martial law imposed on Poland, contest cancelled. 1984, Polish tvresumed organisation, under old name of Sopot International Song Festival


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Voting in Intervisionwww.youtube.com/watch?v=GOEh9DSv0Zw


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Intervision Song Contest - did it work?

Despite strict sanctions, some people tuned into Finnish TV to watchEurovision

Eurovision became the cool, glamorous big sister of the Intervision contest -Intervision didnt become a real alternative, rather a sad attempt at protesting

Western ideals

Sopot International Song Contest, after fall of Intervision, has featured big-name guests, like Elton John, The Corrs, Johnny Cash, Vanessa Mae, AnnieLennox, Chris Rea, LaToya Jeckson, Whitney Houston

Shows real interest in opening up to Western glitz and glamour


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Modern attitude to Eurovision

Becoming part of the Eurovision communityvery important to newly-opened countries

Creation of new in-group, rejection of old

Of ex-Soviet states:Armenia 2006 Georgia 2007 Ukraine 2003Azerbaijan 2008 Latvia 2000Belarus 2004 Lithuania 1994Estonia 1994 Russia 1994


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Bloc-voting

Bloc-voting is seen as a threat to thecompetition - geographically or historicallyclose nations seem to vote for each other

Could be support, or simply a shared enjoyment

of a certain kind of music

Close geographically - perhaps close culturally?

Is this really an issue, or inevitable?


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Russias Eurovision

2009 - 43 countries took part -200 million viewers

16,000 people in Olimpiyski arena, 50 huge TV screens around Moscow

Most expensive Eurovision contest ever staged - at least 35 million euro

Biggest stage ever built - 2 square kilometres of LCD screens

Attitude seemed to be, if were going to do this, lets do it properly

Russia proving theyre not the backwards Soviet nation any more, rather amodern, rich nation with aspirations


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Georgia were excluded, because of their song We dont wanna put in

We don't wanna put in,The negative move,It's killin' the groove,

I'm o' tryin' to shoot in,Some disco tonight,To Boogie with you.

Thinly veiled criticism of Putin - South Ossetia conflict of 2008

Against whole concept of the Eurovision"No lyrics, speeches, gestures of a political or similar nature shall bepermitted


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Bosnia-Herzigovina 1993

With the explosion of new countries in the early 90s, Eurovision held acompetition to allow some entry to the 1993 contest, in Cork, Ireland

The whole world's pain/ Sva bol svijeta - FaziaThe whole world's pain in Bosnia tonight

I stay here to challenge and to fightAnd I'm not afraid to stumble and fallI'll never stop to sing, they cannot take my soulI stay here to challenge and to fight

And I'm not afraid to stumble and fallI'll never stop to sing, they cannot take my soul

Hugely powerful anthem for the Bosnian people, who were still at warConductor wasnt able to get out of Bosnia


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Is the Eurovision really that powerful?

For many people, the Eurovision was an emblem of freedom and liberty

Because of this, it has a hugely powerful role on the worlds stage

Made clear by each new countrys race to get accepted

Playing Eurovision creates a new identity for these countries - new, modern,forward thinking

Allows them to escape the struggles of the past

Helps to create identity in musical endeavour


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Discussion Questions

Can taking part in a signing competition really change lives?

Whats the role of the other in our identity formation?

Whats more important, finding who we are, or who were not?


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Music and national identity - Ireland

Plantations from 12th C, grew in 16th and 17th CenturyIrish land confiscated by British monarchy, given toBritish planters - under Henry VIII, Mary I, Elizabeth I,James I, Charles I, Oliver Cromwell

Penal laws of 1691-1778 outlawed Catholics from teaching

their children, leaving the country for education, enteringuniversity, running for parliament, voting, marryingProtestants, or adopting orphans etc etc etc etc etc

Famine (An Gorta Mor 1845 - 1852) led to at least 1 million deaths, 1 million emigrations -20 - 25% of population

Resulted in huge effect on culture, language, etc

Irish historys great, isnt it?


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Efforts to revive culture - music

Traditionally, the Irish entertained themselves with singing, dancing and story-telling

This remained remarkably strong throughout c. 800 years of oppression, starvation,emigration etc

The trad/folk tradition in Ireland remainedstrong into the 20th C - didnt need muchrevival, as it had continued underground under British rule

Now needed to be actively encouraged - through schooling and community groups- from the turn of the 20th C

Still a huge part of Irish life - many children learn to play trad music, do Irish dancingetc (alongside learning Irish in school, playing Irish sports such as Gaelic, Hurling,and Camogie)


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Role of Irish music in forming identity

Two waves: Traditional traditional music remained a large part of national identitythroughout settlements, famine etc

Things started to evolve in the 60s: Sean O Riada and Ceoltoiri Chualann

Played in concert halls, dressed in black suits, bow ties, but played trad songs -also brought back some outdate instruments, like the bodhran

Rather than a collection of musicians gathered together for asession, Ceoltoir Chualann played arranged pieces

Played the harpsichord, in place of the clairseach

They recorded the soundtrack of the film "Playboy of the Western World" in 1963


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Irish music and identity - diaspora

1848 - 1950: over 6 million people left Cobh harbour

c. 4.5 million reached USA - settling in New York, Boston, Chicago

Music formed a large basis of Irish identity in Irish- American communities

Not just new immigrants, but their children, grandchildren etc

Emmigrant laments/ballads - steeped in nostalgia, and self-pity, idolising anIreland that no longer exists, or that the singers have never seen! (Thousandsare sailing to America, Shamrock Shore)

Rock-trad fusion - Flogging Molly from LA, Dropkick Murphys from Boston


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Post- Ceoltoiri Cualann

Modern traditional music: from 60s onwards, fusions of trad music with folk.pop, rock, opera - interested whole new swathe of population in trad music

The Chieftains, The Pogues, Planxty, the Bothy Band, Clannad, Anuna, U2,etc

Interested the younger generation, who had been brought up on traditionaltrad music - had perhaps grown stale

Both traditional and modern trad music have had a huge role to play inidentity formation - in-groups include Irish traditional music players and

real Irish republicans, and out-groups include British, classical musicplayers, and not real republicans

Also huge impact on Irish-American identities


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Does this fit with the psychological evaluation fo

identity?

Remember Folkestad (2002) stated that music plays a particularly importantrole in countries which have had their legal and cultural sovereignty seriouslythreatened over extended periods of time

Surely Ireland fits the bill?

Music played a crucial role under British rule, and continues to mediateidentity in Ireland and abroad


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China - music & the Cultural Revolution

Under Mao Tse-tung, chairman of the Communist Peoples Republic of China,religion was suppressed, as it posed a threat to Maos totalitarian regime

There is now such thing as art that is detached from or independenct ofpolitics

Music formerly played a huge role in religious ceremonies

This ritual music was not directly outlawed, but certainly discouraged

Music activity was always sensitive...though the music wasnt superstitious,

it was treading the same path as superstition (Jones: 43)


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The reality of the Great Leap Forward

Loss of liberty, governmental pressure and suppression, starvation due to famineand loss of employment, evidence of murder and cannibalism

In Yuanmenkou the present ritual specialists had only learnt a third of the ritualmanuals before all their old masters starved to death in 1960 (Jones: 48)

Huge amount of musical repertoire lost

Under the Four Clean-ups operations, instruments were confiscated and vocaland instrumental scrolls were burnt


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However...

Despite worsening hardships, some cultural authorities still managed to organize moretraditional activities, such as folk festivals (Jones: 48)

Priests who had previously held the (lucrative) monopoly on vocal liturgy and sheng-guanmusic now felt obliged to hand them on to ordinary villagers.

Some music associations were even established early on in the 1950s, despite mountingdifficulties

However, the vocal liturgy was more vulnerable than the instrumental music (Jones: 50)as instrumental music was memorized, and thus survived the Clean-Ups

Despite increased governmental disapproval, musicians continued to practice ritual musicfurtively, in an effort to express their heritage and cultural identity in the face of thehomogeneity of Communism


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Post-Mao (1980s)

Revival of music began in earnest, with instruments, scores and operacostumes being reclaimed and replaced. Efforts were made to transcribescores from memory, and old scores were often recopied.

Beginning in the 1980s, a massive project was organized by the Chinese

Musicians Association and the Ministry of Culture to assemble an Anthologyof Folk Music of the Chinese Peoples

Under Mao, music schools were closed down or repurposed - music wassuppressed and much of the repertoire and instruments destroyed or banned

There was a concerted effort to reverse this


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Post-Mao (1980s)

However: ritual music seems to have been more resistant to decline thanmany other art forms (Stock: 650)

The villagers of each area in China revived their music in order to help revivetheir cultural heritage and reassert their unique history and identity.

Despite the cultural wash-out of the Mao regime, this music survived inpart

Could also be revived thanks to memorised scores etc


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Reason for the revival of music Post-Mao

People re-asserting their freedom

Turning their back on all the horrors of the past 30 years

Perhaps a way of pretending it hadnt happened?

Again, reasserting in-group / out-group status

Bringing back self-respect, own volition etc


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How powerful do you think music can be as part of national identity?

Do you think music is always seen as a positive marker of identity?

If music is pushed as a sign of nationalism, can it push people the opposite

way/ turn them off?

What musical identities do you consider yourself part of?

Do they define you?


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Music and teen culture

Aristotle: Any musical innovation is full of danger to the whole state, andought to be prohibited...[since] when modes of music change, thefundamental laws of the state change with them

Teens have always used music as a way to form groups, distance themselves

from parents, create own identity

Each generation, theres been some innovation that causes a generation gap

Not necessarily a bad thing, part of growing up is forming own identity in achanging world


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The first teens

1950s USA - expectations of young people changed

Booming economy

Parents had lived though the depression and WWII - More indulgent of whims of theirchildren

More kids stayed in school - not leaving for work

More free time and money - social and peer bonds - 1956 $8.96 vs $2.41 in 1944

Liberalised culture - opposition to parents - More dating, at earlier age

http://www.time.com/time/magazine/article/0,9171,865481,00.html#ixzz1alPhdLvR


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The first teens

Teenagers first emerged post- WWII

Evidence for use of the term teenage in 1921, Websters Dictionary (3rd ed,1961) teen-age (in 2nd edition, 1934), becomes noun teenager

Before this, youths looked forward to the future, worked towards it

Teenagers were concerned with the here-and-now, enjoyment and hedonism

Mixed more with people of different races - effect of this on music


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Music and teens

Billboard, Oct 13th 1958: Jo StaffordTodays nine to fourteen year old group is the first group with enough moneygiven to them by their parents in sufficient quantities to influence the market

Allowed much more freedom of choice

Generational gap developed

Music merely a symptom of these changes

Often seen as the cause (still the case)

The more music is attacked, the more popular it becomes


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Parental concerns www.beachpsych.com/pages/cc43.html

Advocating and glamorizing abuse of drugs and alcohol

Pictures and explicit lyrics presenting suicide as an "alternative" or "solution"

Graphic violence

Preoccupation with the occult; songs about satanism and human sacrifice, and the apparentenactment of these rituals in concerts

Sex which focuses on controlling sadism, masochism, incest, devaluing women, and violence towardwomen

Music is not usually a danger for a teenager whose life is happy and healthy. But if a teenager ispersistently preoccupied with music that has seriously destructive themes, and there are changes inbehavior such as isolation, depression, alcohol or other drug abuse, a psychological evaluationshould be considered.


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Whats really going on here?

Formation of in- vs out-groups

Adults = politically and economically powerful

Teenagers = powerless?

Within the in-group of teenagers, further in-groups and out-groups

Goths, emos, death metal, etc

Formation of in-group again creating a safe place to investigate identity, feelyoure not alone


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Case studies

1950s - Elvis

1960s - Beatles

1970s - Sex Pistols

1990s - NWA/ Ice T (violence, gansta rap)


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Elvis - 1950s

Began his career in 1954 in Memphis, Tennessee - one of the originators ofrockabilly - up tempo fusion of country, rhythm and blues - big influence of black

music

First single Heartbreak Hotel released 1956 - number 1. Became leading figure innew rock and roll

1956: Songs I want you, I need you, I love you etc earned him the name Elvis thePelvis

He was blamed for teenage delinquency - in particular his sexual dancing

If someone saw me singing and dancing, I dont see how they can think it wouldcontribute to juvenile delinquency. If theres anything Ive tried to do, Ive tried to live

a straight, clean life, and not set any kind of bad example


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Elvis - Reviews

Jack Gould, New York Times: "Mr. Presley has no discernible singing ability. ... His phrasing, if it canbe called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. ...His one specialty is an accented movement of the body ... primarily identified with the repertoire ofthe blond bombshells of the burlesque runway."

Ben Gross, New York Daily News: popular music "has reached its lowest depths in the 'grunt andgroin' antics of one Elvis Presley. ... Elvis, who rotates his pelvis ... gave an exhibition that was

suggestive and vulgar, tinged with the kind of animalism that should be confined to dives andbordellos".

Ed Sullivan: "unfit for family viewing"

Frank Sinatra, himself a heart-throb in the 40s, strongly criticised rock and roll: "brutal, ugly,degenerate, vicious. ... It fosters almost totally negative and destructive reactions in young people. It

smells phoney and false. It is sung, played and written, for the most part, by cretinous goons. ... Thisrancid-smelling aphrodisiac I deplore." Elvis responded with: "I admire the man. He has a right to saywhat he wants to say. He is a great success and a fine actor, but I think he shouldn't have said it. ...This is a trend, just the same as he faced when he started years ago."


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Elvis the Pelviswww.youtube.com/watch?v=rOvUdZgl7vo


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Elvis

Florida tour - A judge banned Elvis from moving his hips. Police went as faras to film shows, to check he wasnt moving below the waist

Elvis became a bit more hardened: If [teenagers] want to pay their money tocome out and jump around and scream and yell, its their business. Theyllgrow up someday and grown out of that. When theyre young, let them havetheir fun

Things started to change - Ed Sullivan said Elvis is a real decent, fine boy

Elviss southern manners and modesty seemed to eventually win over middle

America

His highly-publicised military service cant have harmed either...


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Elvis - end of controversy

Elvis was in the US army from 1958 to 1960, after which he focused onmaking films - making 27 films in the 60s

These were universally panned, but soundtracks were still popular

He had lost his super-sexual image, first serving in the army, then marryingand fathering a daughter

Staged a come back in 1968, and made a career in Las Vegas - more middleof the road music

He had grown up, along with his fans, making room for the next big thing


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The Beatles in the USA

First tour 1964 - 11 weeks after assassination of J.F. Kennedy

Teenagers, like the general public, were bereft - had a gap whichBeatlemania could fill

Greeted upon arrival at JFK airport by 4,000 fans - some were injured in crush

Ed Sullivan show - 73 million viewers (40% of population) - largest number ofviewers ever recorded for a US tv show

Start of the British Invasion - Gerry & the Pacemakers, Dave Clark Five, Billy

J. Kramer


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Beatlemania

www.youtube.com/watch?v=VLvTq6FdOj4


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Backlash

In 1966, John Lennon said that the Beatles were now more popular than Jesus. This led to hugeprotest, boycotts etc

This coincided with the 1966 tour of the US - tour went ahead despite public burnings of records,and clains that the Beatles were anti-Christ

Memphis: City council voted to cancel the concert, on the basis that municipal facilities should notbe used as a forum to ridicule anyones religion - the concert went ahead

Telephone threats were received, and the Ku Klux Klan picketed concerts

South Africa banned play of Beatles records

However, Lennons statement had been misconstrued "Christianity will go," Lennon said. "It willvanish and shrink. I needn't argue about that; I'm right and I will be proved right. We're more popularthan Jesus now; I don't know which will go first, rock 'n' roll or Christianity


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Backlash

June 1966: Yesterday and Today, a compilationalbum created for US market, caused a backlash,as it showed the Beatles dressed in butchersoveralls, with raw meat and baby dolls.

Drug use became more obvious - towards end of60s, the band were using hard drugs quite openly

Elvis (previous hearth-throb) spoke to PresidentNixon, saying they exemplified anti-Americanismand drug use. Paul McCartney later responded,saying he "felt a bit betrayed. ... The great joke was

that we were taking [illegal] drugs, and look whathappened to him"


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Sex Pistols

Punk band, formed in 1975

1976 - TV appearance on Today show - swearing

Brought huge coverage to them - national newspapers

London councillor Bernard Brook Partridge:"Most of these groups would bevastly improved by sudden death. The worst of the punk rock groups Isuppose currently are the Sex Pistols. They are unbelievably nauseating. Theyare the antithesis of humankind. I would like to see somebody dig a very, verylarge, exceedingly deep hole and drop the whole bloody lot down it


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Sex Pistols on the Today show (from 2 mins)www.youtube.com/watch?v=ohQntZT8amY&feature=related


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God save the Queen

Attacking Britons conformity and loyalty to the monarchy

God Save the Queen/ She aint no human being/ And theres no future/ InEnglands Dreaming

Timed to coincide with Queen Elizabeths Silver Jubilee

Most heavily censored record in British history - banned by BBC and allindependent radio stations - more than 150,000 copies sold

NME chart - number one

BBC chart - number two


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Ice T & Body Count Cop Killer

Released as a protest record, against police brutality

Huge opposition from President Bush, Vice president Dan Quayle, and Tipper Gore -Parents Music Resource Centre

Tipper Gore: "Cultural economics were a poor excuse for the South's continuationof slavery. Ice-T's financial success cannot excuse the vileness of his message [...]Hitler's anti-Semitism sold in Nazi germany. That didn't make it right (Washingtonpost)

Police organisations all over the US called for boycott of all Time Warner products

Dennis R. Martin (Former President, National Association of Chiefs of Police): The'Cop Killer' song has been implicated in at least two shooting incidents and hasinflamed racial tensions in cities across the country.


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Was this response appropriate?

Mark S. Hamm and Jeff Ferrell: Ice-T is not the first artist to embed a 'copkiller' theme in United States popular culture. This theme has been thesubject of countless cinematic and literary works, and has appeared manytimes before in popular music. During the Great Depression, for example,musicians celebrated Pretty boy Floyd and his exploits, which included themurder of law enforcement personnel... But perhaps the best-known case is

Eric Clapton's cover version of Bob Marly and the Wailers' 'I shot the Sheriff,'which reached the top of the U.S. music charts in the mid-1970s (a feat notapproached by Ice-T). 'I Shot the Sheriff,' though, never suffered the sort ofmoral and political condemnation leveled at 'Cop Killer.' How do we accountfor this difference?

Ice-T: "I'm singing in the first person as a character who is fed up with policebrutality. I ain't never killed no cop. I felt like it a lot of times. But I never did it.If you believe that I'm a cop killer, you believe David Bowie is an astronaut"


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Whats common to all of these?

Pushing boundaries

Different from previous generation/ powerful group

Not actually as dangerous as the previous generation thinks - largely silly

posturing/ swagger

Yet each evoke a response - banning, censorship etc - which only serves toincrease their popularity

All of these things are key to teenagers forming their own identity

Regarding yourself as different from others, while taking some aspects of theirvalues, is key to us each forging our own path


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Common trend of previous hell raisers denouncing

next batch...

Frank Sinatra (formerly a teen heart-throb) criticising rock and roll

Elvis criticising the Beatles as anti-American and drug users

Matlock left the Sex Pistols because he liked the Beatles - kicked out?

A fear of the next generation taking their place, and also derision of previousgeneration


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Is music a danger?

Music is often seized upon as a cause of problems for teenagers

Violence and drug use is often glamorised

But is this really the case?

Do kids shoot up schools because they listened to death metal?

Surely if a child is disturbed in some way, music just acts as a conduit fortheir emotions, the same way any other medium might - art etc

Whats your opinion? Can music cause violence/ harm?


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Can we see this as positive?

Problem music need not be a threat to the moral fibre of our youth, rather apositive phenomenon

Positive way for teenagers to respond to any perceived threat of an older,politically and economically powerful out-group which doesnt understandthem

Music is a powerful builder of self-esteem, through group membership - beingpart of a cool, powerful in-group is much better than being a lone wolf

Promotes a positive collective identity rather than a negative personal identity

They willgrow out of it


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Different way of looking at this

Much of the research to date has been sociological in nature

Has looked in very broad terms at how music is used by young people

How could you look at it in another way?

Possible to experimentally test the effect/role of music?

What do you think?


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Music of protest

A protest song can be defined as a piece of music whose lyrics speak outagainst a specific social, political, or economic injustice. It states or implies

justice is needed(Lockard: 33)

Protest song: attacks the social and political order by challenging traditionalvalues and asserting new ones by presenting demands for social change, byraising the political conciousness of listeners, and by building support forcollective movements for social changeFox & Williams (1974: 355)

Confrontational - the music frames the opposition

As with any niche system, protest music facilitates group formation


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Protest music of the 20th C

Most well-known popular protest song writer: Bob Dylan

Blowin in the windThe times, they are achanging

A hard rains agonna fall

Challenged the Eisenhower eras desperate plea for conformity, and theparanoia at anything that was the slightest bit different (Denselow, inLockard: 33)

His music and message was absorbed into the psyche of young people, andare still considered powerful protest songs

Created a group dynamic which was new and alternative


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Protest song/ Folk

Protest music began (largely) in the 60s

Prior to this, pop and rock and roll only really got going in the 50s, with thenew teenagers

In the 60s, a revival of folk music coincided with social changes - civil rights,drugs, sex, inter-racial dating, war

Created a strong and powerful protest culture - affected by a cultural lag

Key figures: Joan Baez, Bob Dylan

Began to write their own songs, moving away from standard folk repertoire


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Disintegration of the Folk movement

Late 60s/ 70s, Bob Dylan et al retreated into their private worlds, writingabout love and drugs, and not addressing the large-scale societal issues stillin place

Dylan My back pages denounced his previous fervor - made socialproblems the premise of older, sober men - young people had more importantthings to consider

Moved away from the protest song creating a cultural group identity, to aprivate world

So abandoned the group endeavour - can protest songs have the samegroup-formation effect when the innovators give up on it?


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Protest song

Protest music served to create a community, to create a counter-culture

Allowed the protest generation to show that they were different from theprevious, powerful generation

Surely music here was being used in the same way as political music?

Drawing attention to certain things, away from others, highlighting issues


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Does protest music play the same role nowadays?

Whereas in the past, protest songs sought to make real change politically andculturally, do they still have the same power?

There seems to be an apathy towards protest music nowadays.

Robinson (2003) claims that protest songs are more likely to reach thosewho in the main think that warmight be bad for the worldrather thanconverting or annoying the hostile ears into which they righteously pour

Robinson, John Country of Protest in Guardian Unlimited, March 29th 2003http://arts.guardian.co.uk/war/story/0,,924745,00.html

However, protest in music can take many forms


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Rock and the Berlin wall

rockmusicians were instrumental in setting in motion the actual course of eventswhich led to the destruction of the Berlin Wall and the disappearance of the GDR -Peter Wicke

State repressed rock music, thereby creating a medium of resistance which wasmore or less impossible to control

Musicians skilled at encoding rebellion in their lyrics, for the public to decode

Musicians had power - economic etc

In 1989, musicians illegally broadcast a statement to the west revealing the leak of

young people to the west. The government clamped down, igniting a hostility whichdrove the New Forun movement and eventual reunification


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Music as dissent - different roles

Work songs of slaves - used to uphold cultural traditions, undermine slaveowners and pass secret information

Belgrade radio station B92 broadcast throughout Milosevics regime. Onlycontact with the outside world, they helped to organise dissent andresistance to the regime

Motown record company - home of the Supremes, The Temptations, MarvinGaye, StevieWonder and Smokey Robinson - played a crucial part in thecultural politics of Detroit, not just by articulating a particular popularconsciousness, but by providing a key element of the political infrastructurethat facilitated community activism and campaigns for office - (Suzanne E

Smith)

In-group vs out-group clear in all these examples


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Whats your opinion of protest songs?

Do you think they can still be as powerful now as they once were?

Do they play the same role nowadays?

Do you think grass-roots protest is more effective than a popular protestmusic?


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Readings for next week

Nowicki, S., W.A. Searcy & S. Peters (2002) Brain development, song learningand mate choice in birds: a review and experimental test of the "nutritionalstress hypothesis".Journal of comparative physiology A, 188, 1003 - 1014


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References

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