By Susan Fast
Track and violence were associated on account that antiquity in ritual, fable, and artwork. thought of jointly they bring up basic questions about creativity, discourse, and music’s function in society. The essays during this assortment examine a wealth of concerns surrounding tune and violence—issues that go political limitations, time sessions, and media—and supply cross-cultural case reviews of musical practices starting from large-scale occasions to locally particular histories. Following the editors’ sizeable creation, which lays the foundation for conceptualizing new methods of considering tune because it pertains to violence, 3 vast issues are undefined: the 1st set of essays examines how song participates in either overt and covert sorts of violence; the second one part explores violence and reconciliation; and the 3rd addresses therapeutic, post-memorials, and reminiscence. tune, Politics, and Violence gives area to examine tune as an lively agent instead of as a passive paintings, and to discover how track and violence are closely—and usually uncomfortably—entwined.
CONTRIBUTORS comprise Nicholas Attfield, Catherine Baker, Christina Baade, J. Martin Daughtry, James Deaville, David A. McDonald, Kevin C. Miller, Jonathan Ritter, Victor A. Vicente, and Amy Lynn Wlodarski.
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Track and violence were associated considering antiquity in ritual, fable, and paintings. thought of jointly they bring up primary questions on creativity, discourse, and music’s function in society. The essays during this assortment examine a wealth of concerns surrounding song and violence—issues that go political obstacles, time sessions, and media—and supply cross-cultural case reviews of musical practices starting from large-scale occasions to locally particular histories.
Extra resources for Music, Politics, and Violence
Ižek, Violence: Six Sideways Reﬂections, 22. 19. Žižek, Violence: Six Sideways Reﬂections, 7. 20. Žižek, Violence: Six Sideways Reﬂections, 8. 21. Paul Taylor, Žižek and the Media (Cambridge: Polity Press, 2010), 146. 22. html (accessed November 14, 2010). 23. Brown, Regulating Aversion, 28. 24. For critical reﬂections on the cultural politics of beneﬁt concerts see Susan Fast and Kip Pegley, “America: A Tribute to Heroes: Music, Mourning, and the Uniﬁed American Community,” in Music in the Post-9/11 World, eds.
In other words, the music and frame must work seamlessly together to create a shared meaning, otherwise the frame is exposed and called into question. How then does the frame (including the music within that frame) tell us about what should be remembered? What must we also forget in order to remember an event in a particular way? To shed light on the contemporary problematic of memorialization under consideration here, we would like to focus momentarily on one horriﬁcally violent day in Canadian history.
Oxford: Oxford University Press, 2000), 122. 2. Paul Taylor, Žižek and the Media (Cambridge: Polity Press, 2010), 147. This page intentionally left blank chapter one “A Healing Draft for a Sick People” War in the Pages of the Neue Zeitschrift für Musik, 1914–1918 nicholas attfield I tell you, fate sends war: the value of this cruel medicine is so seldom understood, because the doctors of men could never be so bold as to prescribe it readily as a healing draft for a sick people. . 1 These words, the work of the nineteenth-century German historian Heinrich von Treitschke, might reasonably alarm the modern reader.