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Journal articles on the topic 'Protest song'

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Published: 4 June 2021
Last updated: 4 March 2023

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1

Wabyanga, Robert Kuloba. ""I Am Black and Beautiful": A Black African Reading of Song of Songs 1:5-7 as a Protest Song." Old Testament Essays 34, no. 2 (November 18, 2021): 1–22. http://dx.doi.org/10.17159/2312-3621/2021/v34n2a16.

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Adamo's article on Ebed-Melech's protest brings fresh insight into my earlier article on Song of Songs 1:5-7, prompting me to reread the text as a protest song (essay) against the racial stigmata that continue to bedevil black people in the world. The current article, using hermeneutics of appropriation, maintains the meaning of שְׁחוֹרָה as a black person, who in the Song of Songs protests against the racism, which transformed her status to that of a socioeconomic other. The study is informed by the contemporary and historical contexts of racial injustices and stigma suffered by Blacks for 'being' while Black. The essay investigates this question: In which ways does Adamo's reading of Jer 38:1-17 influence an African reading of Song 1:5-7 as a protest against racism? The article employs African Biblical Hermeneutics, as part of a creative and literary art in the protests against racism, to read the biblical text as our story-a divine story, which in the language of Adamo, has inherent divine power that can empower oppressed black people.
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2

Hunter, Jannie H. "The Song of Protest: Reassessing the Song of Songs." Journal for the Study of the Old Testament 25, no. 90 (September 2000): 109–24. http://dx.doi.org/10.1177/030908920002509008.

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3

MacKinnon, Richard. "Protest Song and Verse in Cape Breton Island." Ethnologies 30, no. 2 (February 16, 2009): 33–71. http://dx.doi.org/10.7202/019945ar.

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On Cape Breton Island, where coal mining and steel making were once an essential part of the region’s culture and economy, protest song and verse are found in abundance. This article explores some previously unexamined protest songs and verses of Cape Breton Island. The body of songs is culled largely from the Maritime Labour Herald, a newspaper of the 1920s that included both locally and internationally composed works. Some earlier folklorists ignored protest songs because their paradigms did not permit them to view these forms as authentic cultural expressions. Their approach raises complex issues of how authenticity is constructed and by whom. My intent is to show that a well-developed protest song tradition was alive and well, and played an important role in the labour struggles of the 1920s. Indeed, these vernacular materials were used for solidarity during times of upheaval and change in Cape Breton Island.
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4

Aronson, Greg, and Kiernan Box. "Song Translation Analysis as a Means for Intercultural Connectivity." Journal of Urban Society's Arts 8, no. 1 (June 9, 2021): 1–14. http://dx.doi.org/10.24821/jousa.v8i1.5444.

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In an increasingly interconnected and globalised world, the need for cross cultural understanding is greater than ever before. Exploring and analysing songs from different cultures can be an effective ‘entry point’ into learning about the nature of other peoples and societies lives and for developing a sense of ethnocultural empathy. Protest songs can provide a lens for intercultural analysis, especially for understanding minority or subcultural perspectives. Translating songs into different languages makes these works more accessible to a broader cross-section of people. We present translations of protest songs, two from Indonesian to English, and one from English to Indonesian. We discuss the respective importance of meaning and poetics in making song translations. Strict adherence to song rhymes is a challenge for translators and one which may impede meaning. The optimal approach depends on the format in which the translation is likely to be presented. Fluency in the target language, rather than the source language, is more helpful for successful translation. Finally, we make some recommendations about the usefulness of intercultural song (text) translation analysis and intercultural awareness.
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5

Pleshkov, Yevgenii S., and Elena V. Kharchenko. "ENGLISH SONG NAMES: PROTEST OR CALL FOR ACTION?" Theoretical and Applied Linguistics, no. 2 (2019): 139–49. http://dx.doi.org/10.22250/24107190_2019_5_2_139_149.

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The article focuses upon some aspects of the impact of English song names resulting from secondary nomination from the names of narcotic substances on young subjects. A large number and variety of song names of different genres encouraged us to introduce a special term «songonyms». As the research material, the name of the song LSD (performed by the rock band Hawkwind) has been chosen. It is difficult to clearly assume what effect song names have on the listener: whether they call for any actions, or, on the contrary, cause a protest and rejection. Therefore, in this study, it seemed important to verbalize the image of the LSD song name in the linguistic consciousness of young people and to reveal what implications this name carries - calling for actions or protest. By means of free associative experiment, according to the authors, individual meanings inserted by an individual into the song name are "revealed". The experiment has been conducted among 2-4-year students in one of the universities of Chelyabinsk. Through the making up of associative fields, it has been revealed that the song name LSD is perceived by young people not as calling for any actions, but as a protest element of rejection.
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6

Martinelli, Dario. "Popular music, social protest and their semiotic implications." New Sound, no. 42 (2013): 41–52. http://dx.doi.org/10.5937/newso1342041m.

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The goal of this article is to discuss the relationship between popular music (song writing, in particular) and issues of social protest, as portrayed in the various repertoires. The interface of the analysis is of a semiotic type, and the steps will follow a path that goes from problematizing the issue as such (with an emphasis on the current difficulties of identifying protest songs in terms of "genre"), to the definition of those stylistic elements pertaining to the context (in/for which these songs are written and/or played), the themes (as appearing from the lyrics) and the music itself (with the implication that the latter aspect is normally underrated in its significance, within such a process).
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7

Robb, David. "The mobilising of the German 1848 protest song tradition in the context of international twentieth-century folk revivals." Popular Music 35, no. 3 (September 14, 2016): 338–59. http://dx.doi.org/10.1017/s0261143016000532.

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AbstractThe rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs – such as those of the 1848 Revolution – could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as ‘Badisches Wiegenlied’ (Baden Lullaby), ‘Das Blutgericht’ (The Blood Court) and ‘Trotz alledem’ (For all that) within the context of the West German folk movement and its counterpart in the GDR.
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8

Scandrett, Eurig, Mahmoud Soliman, and Penny Stone. "Cultural resistance in occupied Palestine and the use of creative international solidarity through song1." Journal of Arts & Communities 12, no. 1 (June 1, 2021): 41–56. http://dx.doi.org/10.1386/jaac_00022_1.

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Protest song has been an important component of grassroots political struggles, and the Palestinian resistance to Zionist settler-colonization is no exception. This article draws on original research with activists in the Palestinian popular resistance on the impact of song during the first intifada (1987 to 1993) and more recently in the opposition to the segregation wall and accelerated colonization of the West Bank. The significance of international solidarity to the Palestinian struggle is noted, and the role of protest song in international solidarity is explored. The activities of Edinburgh-based community choir San Ghanny in using song as an expression of solidarity with the Palestinian popular anti-colonial struggle is analysed. Protest song is a globally recognizable form, which can help to build connections with social movements in different parts of the world and in different periods of history, which is both rooted in individual places and struggles, and also transcends these at the level of global solidarity.
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9

Sokolon, Marlene K. "The Iliad: A Song of Political Protest*." New Political Science 30, no. 1 (February 18, 2008): 49–66. http://dx.doi.org/10.1080/07393140701877692.

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10

Clark, Brett, and Scott Borchert. "Pete Seeger, Musical Revolutionary." Monthly Review 66, no. 8 (January 5, 2015): 20. http://dx.doi.org/10.14452/mr-066-08-2015-01_5.

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In the late 1950s, Pete Seeger received a letter from his manager, Howie Richmond, begging him to write a new hit song. &hellip; [Richmond] believed that &ldquo;protest songs&rdquo; were not marketable. Seeger was angry&mdash;he had a new song in mind, with words from a poem that he had set to music, and he believed it was, in a deep and significant sense, a song of protest.&hellip;. The song, of course, was &ldquo;Turn! Turn! Turn! (To Everything There Is a Season),&rdquo; which continues to be performed and recorded by many artists, and most famously became a huge folk-rock hit for The Byrds. It was as though, despite himself, Seeger produced a hit song, even when commercial popularity was the furthest thing from his mind&mdash;an example of how inseparably his songwriting talents and political principles were bound together.<p class="mrlink">This article can also be found at the <a href="http://monthlyreview.org/index/volume-66-number-7" title="Vol. 66, No. 7: January 2015" target="_blank"><em>Monthly Review</em> website</a>, where most recent articles are published in full.</p><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-66-number-7" title="Vol. 66, No. 7: January 2015" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>
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11

Stowe. "Babylon Revisited: Psalm 137 as American Protest Song." Black Music Research Journal 32, no. 1 (2012): 95. http://dx.doi.org/10.5406/blacmusiresej.32.1.0095.

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12

Strikwerda, L. "Interest Analysis: No More than a ‘Protest Song’?" Netherlands International Law Review 39, S1 (October 1992): 301. http://dx.doi.org/10.1017/s0165070x00035543.

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13

Medley, Mark S. "Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire." Review & Expositor 116, no. 4 (October 21, 2019): 421–35. http://dx.doi.org/10.1177/0034637319878790.

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A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, as was Jewish resistance poetry, in ways analogous to how Holiday’s “Strange Fruit” evokes the imagery of white racial terror for the sake of raising political consciousness.
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14

FONSECA, P. J. "SOUND PRODUCTION IN CICADAS: TIMBAL MUSCLE ACTIVITY DURING CALLING SONG AND PROTEST SONG." Bioacoustics 7, no. 1 (January 1996): 13–31. http://dx.doi.org/10.1080/09524622.1996.9753312.

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15

Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (May 1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and struggle’, enshrined in the titles of two Spanish American anthologies (C. W. 1967 and Gac Artigas 1973), which nicely stresses both their ‘combative’ and their ‘constructive’ aspects, while one of the best of their singers – the Uruguayan Daniel Viglietti – describes his own songs as being ‘in some measure both de protesta and de propuesta’ (i.e. as much ‘proposing’ as they are ‘protesting’). The document with which this article is chiefly concerned uses the term ‘revolutionary song’, which clearly covers both those aspects, but such songs may be seen to perform a far more complex range of tasks than any of those labels might suggest, as soon as their functions are examined ‘on the ground’ within the immediate context of the predominantly oral cultures of Latin America to which they are addressed: cultures in which traditional folksong has retained its power and currency largely undiminished by the changes of the twentieth century, and in which the oral nature of song (with the message of its lyrics reinforced by music) helps it to gain a wider popular diffusion than the more ‘literary’ but unsung texts which make up the greater part of the genre of so-called ‘committed poetry’ (‘poesía de compromiso’) to which the lyrics of such songs clearly belong (see Pring-Mill 1978, 1979).
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16

Katz-Rosene, Joshua. "Protest Song and Countercultural Discourses of Resistance in 1960s Colombia." Resonancias: Revista de investigación musical 24, no. 47 (December 2020): 13–37. http://dx.doi.org/10.7764/res.2020.47.3.

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In Colombia, the tumultuous second half of the twentieth century kicked off with a fierce conflict between the Liberal and Conservative parties known as La Violencia (The Violence, ca. 1948-1958). Following a brief period of military rule (1953-1957), a bipartisan system of shared governance, the National Front (1958-1974), brought about some respite to the sectarian bloodshed. However, the exclusionary two-party system precipitated new lines of conflict between the state and communist guerrillas. Along with the political turmoil, the nation was also undergoing an era of profound cultural change. This essay examines three countercultural-oppositional movements that captivated a wide swath of youth in Colombia’s biggest cities during the 1960s: the canción protesta (protest song) movement, the rock and roll subculture denominated as nueva ola (new wave), and nadaísmo, a rabblerousing avantgarde literary movement. I analyze the correspondences and discontinuities in the ways adherents of these movements conceived of the ideal means to carry out social, cultural, and political resistance. While there were fundamental tensions between the “discourses of resistance” linked to these three countercultural streams, I argue that their convergence in the late 1960s facilitated the emergence of a commercial form of canción protesta.
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17

Chaudhuri, Rosinka. "Song, Protest, the University, and the Nation: Delhi, 2016." Revista Canaria de Estudios Ingleses 76 (2018): 197–210. http://dx.doi.org/10.25145/j.recaesin.2018.76.014.

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18

Chaudhuri, Rosinka. "Song, Protest, the University, and the Nation: Delhi, 2016." Revista Canaria de Estudios Ingleses, no. 76 (2018): 197–210. http://dx.doi.org/10.25145/j.recaesin.2018.76.14.

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19

SILVA, PAULO RICARDO MUNIZ, and EDWAR ALENCAR CASTELO BRANCO. "Cantar e seguir a canção ou para não dizer que não esgrimi a palavra: guerra de sentidos e estética da contestação nas canções de protesto em Teresina (1975-1985) * War of senses and aesthetic of refusal in the protest songs in Teresina (1975-1985)." História e Cultura 2, no. 2 (February 3, 2014): 234. http://dx.doi.org/10.18223/hiscult.v2i2.846.

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<p><strong>Resumo:</strong> A música de protesto, categoria já consolidada no âmbito dos estudos sobre música brasileira, marcou a produção musical em Teresina, a capital do Estado do Piauí, durante a década de 1970. Neste contexto, o Festival Estudantil de Música do Piauí (FEMPI), e o Festival do Parque Piauí (FESPAPI), ambos ocorridos entre as décadas de 1970 e 1980, tiveram importância fundamental para a constituição deste quadro histórico. Responsáveis pela popularização de expressivos nomes da arte piauiense, tais como Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior e Williams Costa, estes festivais acabariam por gerar uma cultura musical de protesto, universo no interior do qual se destacam músicas como Biotema, Arames e Fuzis, Medusa e Represália. O propósito do presente artigo é, apoiado na análise das letras das músicas e, bem como, com o recurso à História Oral, re-conhecer este período e este ambiente da história da música piauiense.</p><p><strong>Palavras-chave:</strong> Música de protesto – Festivais – Piauí.</p><p> </p><p><strong>Abstract:</strong> The protest song, a consolidated category of studies on Brazilian music, marked the music production in Teresina, the capital of Piauí State, during the 1970s. In this context, the “Festival Estudantil de Música do Piauí” [Piauí Student Music Festival] (FEMPI), and the “Festival do Parque Piauí” [Piauí Park Festival] (FESPAPI), both of which occurred between the 1970’s and 1980’s, were crucial for the formation of this historical framework. Expressive names in the Piauí art scene, such as Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior and Williams Costa, were popularized by these festivals that would eventually generate a musical culture of protest, within a universe in which stands out songs like “Biotema”, “Arames e Fuzis”, “Medusa” and “Represália”. The aim of this article is to re-discover this environment and this period of piauiense music history, supported by the analysis of lyrics as well as, use of Oral History methodologies.</p><p><strong>Keywords:</strong> Protest song – Festivals – Piauí.</p>
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20

Power, Martin J., and Aileen Dillane. "Transcending the moment." Politics of Sound 18, no. 4 (May 29, 2019): 491–508. http://dx.doi.org/10.1075/jlp.18060.pow.

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Abstract Our paper argues that British singer Billy Bragg performs protest songs that cleverly draw upon musical forms underpinning his positioning as a voice of, and for, the ordinary person, ultimately disenfranchised by governmental adherence to neoliberal policies. While political songs are a product of their time, many of them can also transcend that historical moment and have a longer shelf-life in terms of their capacity to inform political thinking and action. Our song(s) of choice in this paper do so not just in terms of the relevance of their ‘literal’ message but also in how they draw upon traditional structures of feeling and generic elements of folk song to underpin this sense of ‘grass-roots’ critique via a modified, acoustic ballad form and a performance style. This serves to authenticate and legitimate the singer and his message and, in turn, allows Bragg to accumulate political and cultural capital.
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21

Silverstein, Shayna M. "Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions." Performance Matters 6, no. 2 (March 16, 2021): 94–111. http://dx.doi.org/10.7202/1075803ar.

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Given the salient role of embodied tactics in contemporary networked protests in performance, in this essay I listen for how the embodied sonic praxis of protests during the Arab revolutions translates into the audio, visual, and text modalities of digital media. I propose audibility, or the appearance and perceptibility of sound objects, as that which translates the “live” sound that occurs in physical spaces into representational spaces, and, in so doing, alters the temporality and spatiality of the sonic experience. Interrogating who and what are rendered audible as part of the political contestations that drive protest actions, I demonstrate how audibility is a technological condition, sensory force, and social process through which affective publics emerge in networked spaces. I begin with social media posts from the first months of non-violent protest actions in 2011, in Egypt and Syria, analyzing the translation of sonic objects into written texts that narrativize the subjects and spaces of the Arab revolutions. I then shift to the sonic praxis of revolutionary mourning in a discussion of the audibility of the crowd in footage of protest funerals that reclaimed martyrs of the Syrian revolution in 2018 and 2019, interrogating how the sounds of the crowd enable the mythologization of the martyrs’ bodies and help mobilize the cause for which they died. Both approaches to audibility – as expressing voice and documenting sounds – underscore how audibility, I argue, is crucial for understanding the affect-rich intensities that drive networked protest performances, and that forge political possibilities as imaginable, sensible, and perceptible.
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22

Zwan, Pieter van der. "LONGING FOR BELONGING BEYOND BELONGINGS: THE ECONOMICS OF SONG OF SONGS." Journal for Semitics 25, no. 1 (May 9, 2017): 371–88. http://dx.doi.org/10.25159/1013-8471/2544.

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The intimate and “monogamous” eroticism in the Song of Songs can be considered as a critique of economic materialism where multiple women may be “bought” in some sense or another. It is the female lover, however, who regards the lovers as belonging to each other and visualises her beloved’s body as made up of precious metals and gemstones which she then owns. It therefore appears that this protest is partially self-subversive in that it equates the celebrated body with the very currency it sets out to denounce. Added to that is the body with its boundaries imaged as a building blocking out unwanted intrusions and so as expression of private property. This conflict of class psychologies might therefore contain an element of envy and the question can be asked which party is actually compensating by overinvestment for unmet needs.
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Treece, David. "Bringing Brazil’s resistance songs to London: words and music in translation." Veredas: Revista da Associação Internacional de Lusitanistas, no. 27 (August 30, 2018): 68–84. http://dx.doi.org/10.24261/2183-816x0427.

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n the context of Brazil’s post-2016 crisis, the article examines how a songwriting repertoire from the 1960s and 70s might still convey ideas of resistance to repression and authoritarianism across half a century of history and across the cultural and linguistic distance between Brazil and London. It explores the potential for song translation in mediating this process, reflecting briefly on a practical, performance-based interactive project undertaken with London audiences in 2017, entitled “The São Paulo Tapes: Brazilian Resistance Songs Workshops”. After outlining a thematic and stylistic typology for the early years of military rule, it then argues that the post-1968 period of hardline repression marked a shift from the song of protest to that of resistance, whose poetic-musical language became distinctly lyrical, something that would need to be reflected in the translator’s work.
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Nehring, Holger. "Protest Song in East and West Germany since the 1960s." Peace & Change 36, no. 3 (June 17, 2011): 479–81. http://dx.doi.org/10.1111/j.1468-0130.2011.00711.x.

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25

Hobson, Janell. "Everybody’s Protest Song: Music as Social Protest in the Performances of Marian Anderson and Billie Holiday." Signs: Journal of Women in Culture and Society 33, no. 2 (January 2008): 443–48. http://dx.doi.org/10.1086/521057.

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26

Rosenberg, Tiina. "The Soundtrack of Revolution Memory, Affect, and the Power of Protest Songs." Culture Unbound 5, no. 2 (June 12, 2013): 175–88. http://dx.doi.org/10.3384/cu.2000.1525.135175.

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All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12). It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences, I argue, they are our forgotten selves singing to us.
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Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2021-18-1-25-64.

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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Lukaniuk, Bohdan. "From the musical history of liberation songs. Problem essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2022-18-1-25-64.

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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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29

Bennet-Clark, H. C., and A. G. Daws. "Transduction of mechanical energy into sound energy in the cicada cyclochila australasiae." Journal of Experimental Biology 202, no. 13 (July 1, 1999): 1803–17. http://dx.doi.org/10.1242/jeb.202.13.1803.

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The anatomy of the paired tymbal muscles of Cyclochila australasiae was described. Force-distance relationships of the sound-producing in-out cycle of tymbal movement were measured. The largest forces were measured when the push occurred at the apodeme pit on the tymbal plate at angles similar to the angles of internal pull of the tymbal muscle. Initially, inward movement was opposed by the elasticity of the tymbal, which stored energy. At a mean force of 0. 38 N after a mean inward strain of 368 microm, the tymbal ribs buckled, the mean energy release being 45.1 microJ. The energy release occurred over 2–10 ms in three or four sound-producing steps as successive tymbal ribs buckled inwards. After the ribs had buckled, the force decreased to a mean value of 0.17 N. The force returned to zero during the outward movement, during which the tymbal ribs buckled outwards. The mean energy dissipated in the outward movement was 32.8 microJ. During contraction, the tymbal muscle produced mean values for the peak active force of 0.31 N over 295 microm, which gave mean values for the area of the work loops of 47.0 microJ. The calling song of C. australasiae had a mean pulse rate of 234 Hz (117 Hz for each side of the insect). The peak power to mean power ratio for the songs was 8.51:1 (+9.30 dB). Measurements of the sound field around tethered insects and of the peak power to mean power ratio of the songs gave values for the mean power of the song of 3.15-7 mW; these correspond to an energy per song pulse of 13.5-30 microJ. Previously reported mean values are 3. 15 mW for protest song and 5.1 mW for calling song. The efficiency of transduction of mechanical energy into sound energy is between 18 and 46 %.
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Kosek, Jakub. "“Acidofilia”: The Work of the Acid Drinkers in the Discursive Landscape of Metal Music Culture." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 39–52. http://dx.doi.org/10.24917/20837275.14.3.3.

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The main subject of this article is the artistic activity of one of the first thrash metal bands in Poland, the Acid Drinkers founded in 1986 in Poznań. The text outlines the state of indigenous metal music studies and identifies selected theoretical contexts related to song studies and the multimodality of popular music culture. In the analysis of the Acid Drinkers’ work, particular attention is paid to the intertextuality of the iconography of Acid Drinkers’ album covers, selected protest songs created by the band, and ironic interpretative covers, which also constitute an important element in the group’s discography.
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Starnes, John Eric. "Black Flag under a Grey Sky. Forms of Protest in Current Neo-Confederate Prose and Song." Review of International American Studies 13, no. 1 (August 16, 2020): 159–81. http://dx.doi.org/10.31261/rias.7587.

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Abstract: While ‘tragic’ protest and protest songs are normally conceived of as originating on the political left of American culture, in recent years protest from the political right, specifically the racist right has flown under the cultural radar of most researchers of American studies. This article strives to explore the ways in which the neo-Confederate movement is currently protesting the state of cultural, political, and social affairs in the contemporary American South. The neo-Confederate movement is one of the oldest forms of ‘conservative’ protest present in the United States, originating out of the defeat of the Confederacy and the civic religion of the ‘Lost Cause’ of the last decades of the 1800s into the first three decades of the 1900s. Since the neo-Confederate movement is both revolutionary and conservative, it is possible to derive some valuable insights into the contemporary reactionary politics of the right by examining a brief sampling of the protest songs, novels and essays of this particular subculture.
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Trigg, Christopher. "A Change Ain't Gonna Come: Sam Cooke and the Protest Song." University of Toronto Quarterly 79, no. 3 (July 2010): 991–1003. http://dx.doi.org/10.3138/utq.79.3.991.

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GOMES, CAIO DE SOUZA. "“Por toda América soplan vientos que no han de parar hasta que entierren las sombras”: anti-imperialismo e revolução na canção engajada latino-americana (1967-69) * Anti-imperialism and revolution in Latin American protest song (1967-69)." História e Cultura 2, no. 1 (August 19, 2013): 146. http://dx.doi.org/10.18223/hiscult.v2i1.944.

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<p><strong>Resumo:</strong> Este artigo tem como objetivo analisar como o ano de 1967 significou um momento de ruptura particularmente importante no processo de consolidação dos movimentos de canção engajada na América Latina por conta da realização em Cuba do I Encuentro de la Canción Protesta, primeiro evento de grandes proporções a buscar institucionalizar e articular os movimentos que vinham surgindo nos vários países do continente, e que teve grande impacto na produção discográfica engajada produzida no período entre 1967 e 1969, marcando uma abertura de horizontes e a incorporação de novos diálogos e referências nas sonoridades da nueva canción latino-americana.</p><p><strong>Palavras-chave:</strong> Música Popular – Canção engajada – Conexões transnacionais.</p><p> </p><p><strong>Abstract:</strong> The objective of this article is to analyze how the year of 1967 was a rupture moment particularly important in the process of consolidation for the movements of protest songs in Latin America due to the I Encuentro de la Canción Protesta, the very first event that tried to institutionalize and articulate the musical movements that have emerged in Latin America, and that had great impact on the discography produced in the period between 1967 and 1969, scoring the incorporation of new dialogues and references on the sounds of nueva canción.</p><p><strong>Keywords:</strong> Popular music – Protest song – Transnational connections.</p>
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Rohmer, Martin. "Form as Weapon: the Political Function of Song in Urban Zimbabwean Theatre." New Theatre Quarterly 16, no. 2 (May 2000): 148–54. http://dx.doi.org/10.1017/s0266464x0001366x.

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In Zimbabwean society, what may not be spoken sometimes becomes acceptable in song – whether to avoid social taboos and enable a wife to complain against her mother-in-law, or in broadening the boundaries of political protest. In this article, Martin Rohmer looks back to the ways in which song enabled forms of protest against forced labour and other aspects of colonial rule – in times of outward compliance as well as of direct struggle – and considers how urban theatre groups in independent Zimbabwe have adapted the tradition to their own, contemporary ends. Martin Rohmer spent almost two years studying Zimbabwean theatre when a research assistant at the University of Bayreuth, and completed his doctorate on Theatre and Performance in Zimbabwe at the Humboldt University, Berlin, in 1997. Since then he has been working in the field of cultural management for the Young Artists' Festival in Bayreuth. The present paper was first presented at the Annual Meeting of the African Studies Association in San Francisco in November 1996.
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Robayo Pedraza, Miryam Ibeth. "La canción social como expresión de inconformismo social y político en el siglo XX." CALLE14: revista de investigación en el campo del arte 10, no. 16 (November 6, 2015): 55. http://dx.doi.org/10.14483/10.14483/udistrital.jour.c14.2015.2.a05.

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<p>Resumen</p><p>Este artículo, producto de la tesis de maestría “El imaginario social y político presente en la canción social o protesta en Colombia durante el periodo comprendido de 1960 – 1970”, muestra el papel preponderante que la canción protesta ha jugado en la historia de América Latina, al recoger las expresiones de inconformismo social que marcaron su época de apogeo entre los años 60 y 80 (cuando la izquierda ganaba terreno político como resultado del subdesarrollo, la creciente miseria, el descontento de la población y la falta de liderazgo de los mandatarios de la región, quienes fueron incapaces de plantear alternativas que permitieran superar estas problemáticas). La canción social se alimentó de la lírica universitaria, del sindicalismo, de las injusticias cotidianas, alentando la lucha por ideales, poderes y pertinencias, con un vocabulario y expresión acordes. El género decae hacia los años 80 como consecuencia de las crisis económicas y la llegada de las dictaduras, y su silenciamiento, así como el asesinato o exilio de sus intérpretes, acompaña la estrangulación de cualquier anhelo de cambio revolucionario en el continente.</p><p>Palabras claves</p><p>Canción protesta, descontento, sindicalismo, luchas sociales, música, movimientos sociales.</p><p> </p><p>Uirsiaikunawa iachari mana allilla kagta Politikapi XX watakunapi Sugllapi Kaipi maestría ima Niriagta 1960- 1970 imasa kagta Colombiapi watakunapi america Latinapi chi watakunapi 60- 80 vincikurka llukikunaa sugrigcha kawachingapa pueblokunata mana sumarkakunata chasakuna, religiónpi mana pudirkuna allilla tukungapa tukuikuna. Ima suti Rimai Simi: Virsiaikunawa, mana allilla, sindicalismo, lucha social, virsiakuna, gintikunapa iuiai.</p><p> </p><p>PROTEST SONG AS AN EXPRESSION OF SOCIAL AND POLITICAL DISSENT IN THE 20TH CENTURY .Abstract</p><p>This article, stemming from the master’s thesis “The Social and Political Imaginary in the Social or Protest Song in Colombia during the period of 1960 to 1970”, shows the important role that protest song has played in the history of Latin America in collecting the expressions of social dissent that marked its heyday from the 60s into the 80s (when the left won political ground as a result of underdevelopment, increasing poverty, the discontent of the population and the lack of leadership from the heads of state of the region, who were unable to propose solutions that would overcome these problems). The protest song fed from university poetry, from trade unionism and from daily injustices, encouraging the fight for ideals, empowerment and the urgent, with the vocabulary and expressions that best suited them. The genre decayed during the 80s as a result of the economic crises and the advent of dictatorships; its silencing, as well as the murder or exile of its performers, accompanied the death of every hope for revolutionary change on the continent.</p><p>Keywords</p><p>Protest song, discontent, unionism, social struggles, music, social movements.</p><p>LA CHANSON SOCIALE COMME EXPRESSION DE LA NON-CONFORMITE SOCIALE ET POLITIQUE AU XXE SIECLE. Résumé</p><p>Cet article, produit du mémoire de Master sur « L’imaginaire social et politique présent dans la chanson sociale ou de protestation en Colombie pendant la période 1960-1970 », montre le rôle prépondérant que la chanson engagée a joué dans l’histoire de l’Amérique latine, en rassemblant les expressions de non-conformisme social qui ont marqué à l’époque de leur apogée entre les années 60 et 80 (quand la gauche gagnait du terrain politique suite au sous-développement, à la misère croissante, au mécontentement de la population et au manque de leadership des mandataires de la région, ceux qui ont été incapables de poser des alternatives qui permettraient de dépasser ces problématiques). La chanson sociale s’est nourrie de la lyrique universitaire, du syndicalisme, des injustices quotidiennes, en encourageant la lutte pour des idéaux, des pouvoirs et des pertinences, avec un vocabulaire et une expression concordants. Le genre dépérit vers les années 80 suite aux crises économiques et à l’arrivée des dictatures, et son étouffement, ainsi que le meurtre ou l’exil de ses interprètes, accompagne l’étranglement de toute aspiration de changement révolutionnaire dans le continent.</p><p>Mots clés</p><p>Chanson engagée, mécontentement, syndicalisme, luttes sociales, musique, mouvements sociaux.</p><p>A CANÇÃO SOCIAL COMO UMA EXPRESSÃO DE INCONFORMISMO SOCIAL E POLÍTICA NO SÉCULO XX. Resumo</p><p>Este artigo, produto da tese de mestrado “El imaginario social y político presente en la canción social o protesta en Colombia durante el periodo comprendido de 1960 – 1970”, (O imaginário social e político presente na mùsica social ou de protesto na Colômbia durante o período compreendido de 1960 – 1970. Mostra o papel importante que a música de protesto tem desempenhado na história da América Latina, para recolher expressões de inconformismo social que marcou o seu auge na década de 60 e 80 anos ( quando a esquerda ganhou terreno político como resultado do subdesenvolvimento, crescimento da miséria, o descontentamento da população e a falta de liderança dos líderes da região que eram incapazes de propor alternativas que permitiam superar esses problemas) A mùsica social foi alimentada da lírica universitária, do sindicalismo, das injustiças diárias, encorajando a luta pelos ideais, poderes e relevância com um vocabulário e expressão acordes. O decaimento do gênero foi nos anos 80 como consequência das crises econômicas e a chegada das ditaduras, silenciamento, assim como o assassinato ou exílio dos intérpretes, acompanha estuangulamento de qualquer desejo de mudança revolucionária no continente.</p><p>Palavras chaves</p><p>Canção de Protesto , o descontentamento, o sindicalismo, lutas sociais, música, movimentos sociais.</p>
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Duffin, Jacalyn, and Joseph L. Pater. "Mrs. Robinson’s Revenge: Pete Seeger, Earl Robinson, and the Medicare Protest Song." Canadian Bulletin of Medical History 35, no. 2 (September 2018): 413–36. http://dx.doi.org/10.3138/cbmh.243-122017.

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Green, Andrew. "Revolutionary songs in a gentrifying city: stylistic change and the economics of salvage in southern Mexico." Popular Music 37, no. 3 (September 12, 2018): 351–70. http://dx.doi.org/10.1017/s0261143018000429.

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AbstractThis article explores the case of a musician performing pro-Zapatista revolutionary songs in a restaurant in a city in southern Mexico which has undergone rapid gentrification since the turn of the century. It highlights the particular set of constraints on, and possibilities for, musical creativity that emerged in an urban setting in which space was increasingly ordered around the accumulation of rents. Exploring relationships between commercial strategy and musical detail, it examines tensions arising around the performance of a revolutionary body of song in such a setting. To conclude, and drawing on the recent work of Anna Tsing, it introduces the notion of musical ‘salvage’ to make sense of the relationship between protest and commerce. Recognizing the incompleteness of revolutionary songs’ translation into the rapidly gentrifying context of San Cristóbal, it is argued here, may help to underline performer agency and creativity.
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Robb, David. "Narrative Role-Play in Twentieth-Century German Cabaret and Political ‘Song Theatre’." New Theatre Quarterly 26, no. 1 (February 2010): 25–37. http://dx.doi.org/10.1017/s0266464x10000035.

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One of the most creative communicative strategies of German twentieth-century political song has been narrative role-play. From the songs of Kurt Tucholsky and Walter Mehring in Weimar cabaret during the 1920s to the dramatic monologues of Franz Josef Degenhardt in the 1960s and beyond, singers have assumed identifiable roles to parody the language, mannerisms, and characteristics of known establishment social types. Role play has also been evident in the narrative identities constructed by singers and performers, either by means of literary association or by association with certain political ideas or stances, as in the case of Ernst Busch embodying the proletarian worker. This article examines different types of role-play, including that of Hans-Eckard Wenzel and Steffen Mensching who, in their 1980s performances, assumed the ironic masks of clowns, with which they projected an alternative ‘carnival’ vision of society in the German Democratic Republic. David Robb is Senior Lecturer in German at Queen's University of Belfast. He is an experienced songwriter and performing musician, the author of Zwei Clowns im Lande des verlorenen Lachens: das Liedertheater Wenzel & Mensching (1998) and the editor of Protest Song in East and West Germany since the 1960s (2007).
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Palkovic, Mark. "Sources: Story Behind the Protest Song: A Reference Guide to the 50 Songs That Changed the 20th Century." Reference & User Services Quarterly 48, no. 4 (March 1, 2009): 413. http://dx.doi.org/10.5860/rusq.48n4.413.

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PLATOFF, JOHN. "John Lennon, ““Revolution,”” and the Politics of Musical Reception." Journal of Musicology 22, no. 2 (2005): 241–67. http://dx.doi.org/10.1525/jm.2005.22.2.241.

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ABSTRACT The Beatles recorded two starkly different musical settings of John Lennon's controversial 1968 song ““Revolution””: One was released as a single, the other appeared on the White Album (as ““Revolution 1””). Lennon's lyrics express deep skepticism about political radicalism, and the single, with its lines ““But when you talk about destruction/…… you can count me out,”” incited rage among critics and activists on the Left. Lennon appears less opposed to violent protest in ““Revolution 1””——recorded first, though released later——where he sang ““you can count me out——in.”” The reception of ““Revolution”” reflected a focus on the words and their apparent political meanings, largely ignoring the musical differences between the two recordings of the song. Moreover, the response to ““Revolution”” had much to do with public perceptions of the Beatles. Their rivals the Rolling Stones, seen as a more radical alternative voice, released the equally political ““Street Fighting Man”” at virtually the same moment in 1968. The much more favorable public reaction to the latter had at least as much to do with the way the bands themselves were perceived as with differences between the songs.
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Paik, Wook Inn. "The Critique of Appropriation of Popular Song in of Oshima Nagisa’s Sing a Song of Sex(日本春歌考): Army Songs, Folksongs, Protest Songs and the Songs of the Involved." Korean Association for the Study of Popular Music, no. 22 (November 30, 2018): 40–68. http://dx.doi.org/10.36775/kjpm.2018.22.40.

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B., S., and Clark D. Halker. "For Democracy, Workers, and God. Labor Song-Poems and Labor Protest, 1865-95." Yearbook for Traditional Music 24 (1992): 173. http://dx.doi.org/10.2307/768495.

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O'Connell, Barry, and Clark D. Halker. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865-95." Journal of American History 79, no. 3 (December 1992): 1188. http://dx.doi.org/10.2307/2080879.

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Dankner, Laura, and Clark D. Halker. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865-95." Notes 49, no. 3 (March 1993): 1066. http://dx.doi.org/10.2307/898980.

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Fink, Leon, and Clark D. Halker. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865-95." American Historical Review 97, no. 3 (June 1992): 941. http://dx.doi.org/10.2307/2164945.

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Salvatore, Nick, and Clark D. Halker. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865-95." Labour / Le Travail 30 (1992): 303. http://dx.doi.org/10.2307/25143645.

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Greenberg, Brian. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865–95." History: Reviews of New Books 20, no. 3 (April 1992): 100. http://dx.doi.org/10.1080/03612759.1992.9949632.

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Lederer, Norman, and Clark D. Halker. "For Democracy, Workers, and God: Labor Song-Poems and Labor Protest, 1865-95." Journal of American Folklore 105, no. 415 (1992): 91. http://dx.doi.org/10.2307/542008.

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Zenović, Nikolina. "Sviće “Smurf”: Intertextual Linkages in Protests Against Montenegro’s 2019 Freedom of Religion Law." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 25, no. 1 (July 22, 2022): 36–57. http://dx.doi.org/10.17161/folklorica.v25i1.18333.

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Elements of traditional folklore and popular culture were invoked in protests opposing the 2019 Zakon o slobodi vjeroispovijesti ili uvjerenja i pravnom položaju vjerskih zajednica [Montenegrin Law on Freedom of Religion or Belief and the Legal Status of Religious Communities], hereafter referred to as the 2019 Freedom of Religion law. The 2019 Freedom of Religion law replaced an older law on religion and caused controversy for its various articles that would thereafter require evidence of church property ownership, without which such properties would transfer into state property. Many people identifying as Serbs in Montenegro protested the updated law to express their concern that holy sites of the Serbian Orthodox Church in Montenegro might become government property under the new law. Protest materials intertextually linked traditional folklore and popular culture characters to the movement. As intertextuality refers to the relationship between two or more texts brought into the same frame, folkloric elements emerged in protests in Montenegro and representations on social media through intertextual linkages. This paper addresses intertextual references made by the hip hop collective Beogradski Sindikat in their song and music video supporting the protests, “Sviće zora” [Dawn Breaks] and people’s recontextualizations of the popular culture figure of Papa Smurf, from the cartoon franchise “the Smurfs,” in Montenegro and abroad. In analyzing such protest materials, I argue that an intertextual approach to protests facilitates understandings of protesters’ meaning-making processes and the semiotic interactions between folklore and protests.
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Cummins, Fred. "The Territory Between Speech and Song." Music Perception 37, no. 4 (March 11, 2020): 347–58. http://dx.doi.org/10.1525/mp.2020.37.4.347.

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Speech and song have frequently been treated as contrasting categories. We here observe a variety of collective activities in which multiple participants utter the same thing at the same time, a behavior we call joint speech. This simple empirical definition serves to single out practices of ritual, protest, and the enactment of identity that span the range from speech to song and allows consideration of the manner in which such activities serve to ground collectives. We consider how the musical elements in joint speech such as rhythm, melody, and instrumentation are related to the context of occurrence and the purposes of the participants. While music and language have been greatly altered by developments in media technologies—from writing to recordings—joint speech has been, and continues to be, an integral part of practices, both formal and informal, from which communities derive their identity. The absence of joint speech from the scientific treatment of language has made language appear as an abstract intellectual and highly individualized activity. Joint speech may act as a corrective to draw our attention back to the voice in context, and the manner in which collective identities are enacted.
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