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    Carmen Ferran
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    Why do we define music the way we do?

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    Why do we define music the way we do?

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    10 views10 pages

    Sounds of Resistance

    Uploaded by

    Carmen Ferran
    Why do we define music the way we do?

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    Sounds of Resistance Robin Balliger SS 14 Sounds of Resistance Robin Balliger 15 mes of power. Theit forms, sourees, aid power” Through in indigenous struggles ti through its danse rprough the circulation of world music, Essays in Rockin’ he Boat: Mass Mus such, politcal music from Hawai a ‘Austin, sad in genous forms with ook to preserve traditional values pre st oppression. Contemporary Abo infu ‘tyle and personal song genre tthe 1970s bocame highly fluenced by the message o Bob Marcy. Aboriginal Australians are ive become ane al elements of music with rock to reach a mass proliferation and comm ie 8 non-efevential and nos-ideok "Breen Langs iypso Iris of the 1930 and 40s, which are usual socal commentary, the Iyres employ varios discursive satgies beyond the high in some eases could represent themselves ‘Sceond, through irreverence and parody, the calypsonians pun class and c 1 the aeons of Une coloizer. of events Biseuss& song writen in the cont “involved inthe struggle fora new culture Textual Analysis oF, Bow wow wow 9 fe ei -inpes yo yppee yay ‘ao of force by the government. Butler wes jailed, bat 1» wow yippee yo yippee yay! (George Clinton “Atomic Dog”) ‘Shon an official repot whitewashing the incident was later released Taas of All’ calypso, "Commission's Repo” “Textual analyses focus onthe Icies : the Iyrics in music asthe primary eno pawleged wor Beyond the noon of protest iscursive statues which form a posts of esi hese text-based analyses, parti ay hess of soa coe an esc roto, td mos to consider mesning in instrumental music Para vat peopl ism emphasizes the importance of “voice” in cultural resistance. For | texts and the underclasses of capital | the intervention in See i alfning. Besa ment onder thir leader Recent literary ext ‘oppressed peoples ant discourses and for cre the dominance of mero SSS 16 Sounds of Resistance Read through the pages there is no mention Which leads one to entertain a thought ‘And wonder if t's 2 one-sided report, Aails’s song thoroughly indicts the offical story through its nd unmaing media eresertations He matory speeches.” In this song, he also brings together the toting and e which chal if mechanism of representing these issues separately; rioting Portrayed as unconscious acts of violence, while oppressive eco avenues of reform, tionally been analyzed only his programmatic appro lyrics, Examph organized L ” meaning of “Balas comon song as songs which are edveation ton tables to @ song that replaces a writen mana forthe stp. ping down and reassembly of the “Carbi Enrique Mejé Godoy). Pring- meaning and educational uses of these songs are largely leaned through analyzing a eter by one ofthe evo which he praises te musical group Pancasén. His article gives li these songs in a broader context and, again, the Iyres are consi nent. In fact, Pring-Mil states the wext. Whereas the meaning ofthese songs is Imusic is ertical to conveying the message. But what is the message ofthe music? Reading tunication of meaning ignores the many suib- didactic Iyis as literal and com texts and levels of meaning occu thin an analysis of poitial werstanding ind are signitican fac of high school and col Ina recent ari reaning of Niger 17 Bakhtn’s writings and how emphasizing nonconfori in Stalinist Russia, requires a complete analysis ary United States. This highl to locate resis- Understanding the politics of musi fom a ic with forms of musie that re heavily coded (possibly to avoid censure), or wher he ites arf seondaryimporance a even misleatng. And Wha and how it ereates a discourse of resistance in a con chas become part of the dominant discourse. In this sit lighthearedness, emotion and physicality are the central puistic themes, Chow Suggests that meaning is created inthe clash of words (often from Chines ‘music, a meaning which becomes audible through “striking note of difference” fom the sn ale voice of official culture. Instead of * or who speaks.” Chow suggests passivity and ‘Walkman erating 2 kind of soi tance beyond an objected reach ‘ening, in which meaning i wugh emphasizing lly produced in different conten Cultural Production or, “Classical muss, jac ‘those are categories of things you buy, that's not music.” (Yo Yo Ma, cellist) able, having witnese Adorno makes the mistake 18 Sounds of Resistance serve dominant interests. His view of pop ~manizheat, and ie TOE of popular mus mi sythms of Society wo creas esape od Popular danée muse and jazz produce a sandardized and creating a & ' danger ‘oppression inthe U dictment of Horkeimer snd Adomo, who were writing Davis states: fn new sounds and sated at 66 perc some markets) and other structural Robin Balliger 19 nology will provide new opportunities forthe independents and make cultuel production moce in tune with the “sounds ofthe street” and “musieas a human activ In Cassette Culnure, Peter Manuel argues thatthe accessibility Manve asic technology since tne mid-198Ds has deentered contin theme nc, eating s Sage loa! Me pro “Gheton ad ike deocraidon-oEerpeession, Manucl ses technology iself asthe moor

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