It is common to hear talk of how music can inspire crowds; move individuals and mobilise movements. We know too of how governments can live in fear of its effects; censor its sounds and imprison its creators. At the same time; there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of musics political importance. But while we may share these assumptions about musics power; we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically musics political power. It shows how music has been at the heart of accounts of political order; at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy; whether in the classroom or in the copyright courts; whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about musics political significance (from Aristotle to Rousseau; from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked; and that each animates the other.
#3250647 in eBooks 2013-04-25 2013-04-25File Name: B00CFFKPSU
Review
1 of 1 people found the following review helpful. Not At All What I ExpectedBy R. MartinDisappointed in the way this book arranges things. It has a HUGE section that list songs by name of the musical. Within that section; it identifies vocal part by a letter; and then range; which is not identified in the same manner that MTI or Stage Agent would identify it--so you have to learn their method--and then style of the song. So; this is only particularly good if you know what musical you want a song from.There is a SMALL section where you can choose by vocal part--soprano; baritone; etc.; and solo/duet; etc. Within that section; there is simply a list of songs; with no indication of which musical they are from or what style of song.I would MUCH PREFER if this were arranged by vocal type; and then include the song; the musical; the composer; the type of song; and the specific range (MTI/Stage Agent compatible). Honestly; that is what I expected. To even use this book; I will have to do a lot of work on my own. Most of us dont know all of these songs nor do we know all the musicals; so simply having a song title tells us NOTHING; other than it is a BARITONE/BASS tune. For $45; I expected the work would be done for me.1 of 1 people found the following review helpful. Dont buy the Kindle version!By Gary L GrayBuyer beware! The Kindle version is missing about 70 pages of content when compared to the print version. All of the indices are missing; greatly reducing the value and usability of this book. The print version is an important part of my musical theatre library and I was hoping to add the Kindle version for greater personal convenience. But the missing pages essentially renders it useless for my purposes. (And oddly enough; the "About This Book" references the indices as though they exist in this version.) Try again; ; total fail on the Kindle edition.1 of 1 people found the following review helpful. Admirable; but not a practical resource.By kjtenormanMr. DeVenneys work is admirable; but this book suffers from some practicality issues:1. Songs are not categorized by musical style/time period. That is the first things performers consider when they are looking for audition songs. Musical theatre repertoire is NOT all the same musical style (especially today). The little style markings the author includes dont cut it.2. Show names arent included with the song titles in the voice part indexes. That means readers have to flip back and forth between the indexes and the actual show entries. Very tedious.4. It would be great to have a chronological index of shows in the back of the book.