Music and Society: identities, resistances and politics through musical production
Melbourne Convention and Exhibition Centre
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Since the 20th Century, music has been both a commercial commodity but also a powerful medium for political views, such as discomfort against war, poverty and segregation by gender, race and sexual orientation, among others. Music works as in “The Pied Piper of Hamelin”: sometimes it takes out the rats, helping the powerful to enhance their power, a commodity that keeps status quo; or sometimes music enchants children, as a way to dissent against political power. As Jacques Attali expressed “all music, all organization of sounds is therefore an instrument to create or consolidate a community, a totality; it is a link between power and its subjects and, therefore, an attribute of power, whatever it may be”. With the appearance of digital streaming platforms in the 21st Century, music production and distribution have been democratized; so many musicians can reach new audiences, allowing more visibility, or audibility, for their political views. In recent years, we noticed many examples: Chilean feminist movement can make a very popular street song-performance that was adopted by many feminist militants all around the world; rap singers in many countries are denouncing police brutality and race violence through their songs. There are many other examples where musical discourses are key factor for making visible many social and political processes. This regular session proposal aims to join research about social and political uses of music, in order to enrich and identify all research in sociology of music and its social and political uses.
September 30, 2022, 6:00pm +10:00
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#sociology of music