10.1: Introduction

In the previous chapter, we examined various ways in which nations can be represented by musical means. Our examples included national anthems, pieces of art music that draw from folk sources, and a complete musical tradition with national significance. In this chapter, we will turn our attention to the role of music in political action, and we will see how music can not only represent a nation but also directly influence its character and future.

As we already discussed in the context of national anthems, music can bring people together and inspire them to feel sympathetic toward one another. Music—especially participatory music—can create community. Music can also inspire an emotional response in the listener. These capacities are combined to great effect when music is used to urge a group of people to think or act along specific political lines.

Sometimes, music is employed in support of a political candidate or ideology. The most prominent examples of this include campaign songs, music played at political rallies, and the soundtracks to political advertisements. In all of these cases, music is used to inspire sympathy with a cause or candidate and win the support of the listener. However, the creators of the music in question do not always have a say in its political use. More often than not, music is coopted for political purposes and used in ways that the original artist had never imagined (and may not approve of). In such cases, we see the capacity of music to express meaning beyond its creator’s intent.

Other times, music is used to combat a dominant political force. The most prominent example of this is the protest song, which is used to inspire resistance to an ongoing political action. When music is used to protest ruling powers, however, there is always an element of danger. Those who position themselves in opposition to governments or bosses risk serious reprisal. For this reason, protest music is not always easy to decipher. Sometimes it is overt in its meaning, clearly indicating the objectionable situation and the desired action. Sometimes, however, it is covert, instead disguising its meaning so that only certain listeners will receive the message. In such cases, it can be difficult to determine exactly what a piece of music “means” or even to prove that it is subversive at all. We will examine both overt and covert examples in this chapter.