Red Strains: Music and Communism Outside the Communist Bloc
Red Strains: Music and Communism Outside the Communist Bloc
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Abstract
With the establishment of the People's Republic of China in 1949, a third of the world's population came to live under communist regimes. Over the next forty years, the lives of most people in the non-communist world were also shaped in some way by communism and the Cold War waged against it. In the cases of many artists, intellectuals, and workers, this involvement was wished and active. Yet while the left-leaning tendencies of western artists have long been recognized, the extent and depth of musicians' involvement in communism specifically has been largely ignored, suppressed, or dismissed as youthful infatuation. This book offers a representative overview of the relation of music and communism outside the communist bloc. Ranging across multiple musical genres, five continents, and seven decades, the nineteen chapters address both prominent musicians who aligned themselves with communism, and the investments in music of a range of communist and radical Marxist organizations (including national Communist Parties, the Black Panther Party, and Maoist and Trotskyist groups in Britain, Germany, and Nepal). In the book's first section, five musicians (Giacomo Manzoni, Ernie Lieberman, Konrad Boehmer, Chris Cutler, and Georgina Born) offer their own, more personal perspectives upon their engagement with communism. The volume as a whole highlights two ‘red strains’ in particular: the irreducible differences of opinion between communists regarding key debates concerning music's role in society; and the multiple challenges faced by every engaged musician in reconciling political and artistic agendas.
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Front Matter
- 1 Communisms, Communist Musics
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Part I Musicians’ Perspectives
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2
Towards Political and Musical Renewal: The Other Idea of Communism
Giacomo Manzoni
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3
Talking Union: The Folk Revival and the American Left
Ernie Lieberman
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4
‘Non, je ne regrette rien’
Konrad Boehmer
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5
The Multiple Politics of Henry Cow
Chris Cutler andBenjamin Piekut
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6
On Music and Politics: Henry Cow, Avant-Gardism and its Discontents
Georgina Born
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2
Towards Political and Musical Renewal: The Other Idea of Communism
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Part II To 1960
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7
‘Music Left and Right’: A Tale of Two Histories of Progressive Music
Anne C. Shreffler
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8
‘Workers’ Music’: Communism and the British Folk Revival
Ben Harker
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9
From the Andes to Paris: Atahualpa Yupanqui, the Communist Party, and the Latin American Folksong Movement
Fabiola Orquera
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10
‘Put My Name Down’: US Communism and Peace Songs in the Early Cold War Years
Robbie Lieberman
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11
Music, the Political Score, and Communism in Australia: 1945–1968
Anthony Ashbolt andGlenn Mitchell
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12
‘In onore della Resistenza’: Mario Zafred and Symphonic Neorealism
Ben Earle
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7
‘Music Left and Right’: A Tale of Two Histories of Progressive Music
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Part III From 1960
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13
Key Questions of Antagonist Music-Making: A View from Italy
Gianmario Borio
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14
Black, White, and Red: Communism and Anti-Colonialism in Alan Bush’s The Sugar Reapers
Joanna Bullivant
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15
The Black Panther Party: Three Moments of Music
Eamonn Kelly
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16
Music, the Fête de l’Humanité, and Demographic Change in Post-War France
Eric Drott
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17
New ‘Old Leftist’ Aesthetics in the West German Contemporary Music Scene: The Cantata Streik bei Mannesmann (1973)
Beate Kutschke
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18
Rocking Against Racism: Trotskyism, Communism, and Punk in Britain
Jeremy Tranmer
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19
Class Love and the Unfinished Transformation of Social Hierarchy in Nepali Communist Songs
Anna Stirr
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13
Key Questions of Antagonist Music-Making: A View from Italy
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End Matter
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