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Journal articles on the topic 'Songs of Protest'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

MacKinnon, Richard. "Protest Song and Verse in Cape Breton Island." Ethnologies 30, no. 2 (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

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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 (2000): 109–24. http://dx.doi.org/10.1177/030908920002509008.

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3

Lewis, Court. "Songs of Social Protest." Acorn 18, no. 1 (2018): 95–97. http://dx.doi.org/10.5840/acorn2018181/214.

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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 (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 translatio

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5

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 (

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6

Garabedian, Steven. "Lawrence Gellert, Negro Songs of Protest." African American Review 49, no. 4 (2016): 297–311. http://dx.doi.org/10.1353/afa.2016.0048.

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Jolaosho, Omotayo. "Singing Politics: Freedom Songs and Collective Protest in Post-Apartheid South Africa." African Studies Review 62, no. 2 (2019): 6–29. http://dx.doi.org/10.1017/asr.2018.16.

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Abstract:This article examines the continued salience of sung protests in South Africa by investigating the adaptation of anti-apartheid freedom songs along with the emergence of new expressive forms in ongoing community mobilizations. Based on sixteen months of ethnographic research in Johannesburg, this article argues that freedom songs constitute a distinct register that is politically efficacious due to singing’s aesthetically embodied effects. Formative elements of antiphony, repetition, and rhythm constitute a musical practice that organizes protest gatherings, allows for democratic lead

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8

Boone, Gloria M., Jane Secci, and Linda M. Gallant. "Resistance: Active and Creative Political Protest Strategies." American Behavioral Scientist 62, no. 3 (2017): 353–74. http://dx.doi.org/10.1177/0002764217735623.

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Resistance to U.S. President Donald Trump’s policies on gender equality, health care, race relations, the environment, and immigration has been large, widespread, and persistent. Following President Trump’s election, millions of people across the United States protested, creatively using slogans, signs, costumes, chants, and songs. Others engaged in resistance with online videos, songs, memes, and hashtags. By employing the communicative informatics model, we examine the relationship between online communication and the creative and active audience involved in U.S. political resistance in 2017

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9

Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (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

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10

Rosenberg, Tiina. "The Soundtrack of Revolution Memory, Affect, and the Power of Protest Songs." Culture Unbound 5, no. 2 (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 centra

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Esteve-Faubel, José-María, Tania Josephine Martin, and Rosa-Pilar Esteve-Faubel. "Protest songs about the Iraq War: An effective trigger for critical reflection?" Education, Citizenship and Social Justice 14, no. 2 (2018): 179–95. http://dx.doi.org/10.1177/1746197918793003.

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The question of developing educational policies that involve training people to be capable of critical reflection and skilled in approaching the discussion-debate binomial, with the overall goal of achieving learning which is of a transformative kind, is currently embraced by the transdisciplinary paradigm known as Global Citizenship Education. This qualitative study investigates the impact of protest or topical songs released in response to the Iraq War on a cohort of university students and explores whether these songs could be useful in Global Citizenship Education. The results of the study

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12

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 (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 s

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13

Bensimon, Moshe. "The Dynamic of Songs in Intergroup Conflict and Proximity: The Case of the Israeli Disengagement from the Gaza Strip." Group Processes & Intergroup Relations 12, no. 3 (2009): 397–412. http://dx.doi.org/10.1177/1368430209102851.

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This study explores intergroup dynamics through group singing during the Israeli disengagement from the Gaza Strip. Interviews with 14 protesters and 14 security force members showed how different genres of songs affected intergroup conflict or proximity. When protesters sang Israeli folk songs, rhythmic Jewish religious songs and protest songs, these songs evoked negative feelings among security force members, thus increasing intergroup conflict. When protesters expressed pain and sadness through singing slow, quiet, spiritual songs, these songs evoked empathy on the part of security force me

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14

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 (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, origi

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15

Stewart, Charles J. "The ego function of protest songs: An application of Gregg's theory of protest rhetoric." Communication Studies 42, no. 3 (1991): 240–53. http://dx.doi.org/10.1080/10510979109368340.

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16

Bezerra, Ligia. "“Golpe, não!”: Twenty-First-Century Brazilian Songs of Protest." Studies in Latin American Popular Culture 39 (June 2021): 24–39. http://dx.doi.org/10.7560/slapc3902.

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17

Power, Martin J., and Aileen Dillane. "Transcending the moment." Politics of Sound 18, no. 4 (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 dr

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18

Owoaje, Tolu, and Kadupe Sofola. "The Clamour for an End to Police Brutality: Satire Songs of the EndSars Protests in Nigeria." East African Journal of Arts and Social Sciences 3, no. 1 (2021): 70–81. http://dx.doi.org/10.37284/eajass.3.1.315.

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The EndSars protests, which occurred in Nigeria in October 2020 employed a great deal of music, which include solidarity songs, popular music, and satirical songs. This article investigates the use of satirical songs in the EndSars protests. The protest, which recorded a massive turnout of protesters in October 2020 across major cities in Nigeria started several months on the social media, most especially Twitter, a microblogging website before it was finally taken to the streets. Anchored on the concept of social movement, it employs the use of participant observation and the social media pla

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19

Zwan, Pieter van der. "LONGING FOR BELONGING BEYOND BELONGINGS: THE ECONOMICS OF SONG OF SONGS." Journal for Semitics 25, no. 1 (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 unw

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Sørensen, Bent. "Almanac Songs and Singers: Protest, Détournement and Incorporation." American Studies in Scandinavia 47, no. 2 (2015): 29–46. http://dx.doi.org/10.22439/asca.v47i2.5348.

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This article deals with the practice of the radical leftist singing group The Almanac Singers (whose members included Woody Guthrie and Pete Seeger, among others) from their earliest anti-capitalist and anti-war songs to their later, more liberal contributions to negotiating a unified (war) effort against Fascism. Issues addressed herein include assessing strategies in the practices of musical performers who have political agendas, investigating the usefulness of Guy Debord’s terminology of détournement (“turning expressions of the capitalist system and its media culture against itself”), as w

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21

Smithers, Aaron. "They’ll Never Keep Us Down: Songs of Protest, 1913–2018." Southern Cultures 24, no. 3 (2018): 165–67. http://dx.doi.org/10.1353/scu.2018.0040.

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22

Green, Andrew. "Revolutionary songs in a gentrifying city: stylistic change and the economics of salvage in southern Mexico." Popular Music 37, no. 3 (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 conclu

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23

Esteve-Faubel, José María, Tania Josephine Martin, and Rosa Pilar Esteve-Faubel. "Investigating Press Coverage of Protest Songs During the 2003 Iraq War." SAGE Open 10, no. 4 (2020): 215824402096770. http://dx.doi.org/10.1177/2158244020967702.

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The 2003 Iraq War was a landmark for real-time news dissemination, with news broadcast by journalists embedded with U.S. troops. The literature indicates that mainstream media reflected the viewpoints of those in power, giving little coverage to anti-war sentiment. This study focuses on press coverage relating to a specific aspect of dissent—protest songs against the 2003 Iraq War. After analyzing the content of articles sourced from mainstream newspapers from both sides of the Atlantic, namely, The New York Times, The Wall Street Journal, The Guardian, and the Telegraph, the results indicate

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24

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 t

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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, № 22 (30 листопада 2018): 40–68. http://dx.doi.org/10.36775/kjpm.2018.22.40.

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26

Ziv, Naomi. "Reactions to “patriotic” and “protest” songs in individuals differing in political orientation." Psychology of Music 46, no. 3 (2017): 392–410. http://dx.doi.org/10.1177/0305735617713119.

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Music is commonly used in political contexts, to strengthen attitudes and group cohesion. The reported research examined reactions to music representing national values or contesting them in individuals with different political orientations, on issues related to national pride, cohesion and free expression. In Study 1, 100 Israeli participants heard three “patriotic” or “protest” songs and rated their agreement with statements regarding them. Beyond a number of main effects of music and of political orientation, several interactions between these two variables were found. For right-wing partic

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Jędrzejko, Paweł. "The Times They Are A-Changin’." Review of International American Studies 12, no. 2 (2019): 5–24. http://dx.doi.org/10.31261/rias.8007.

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The article, whose central premise is to address the ellusive issue of the Zeitgeist of the "long 1968," revolves around the appeal of the singer-songwriter activism and the international, cross-cultural popularity of protest songs that defy political borders and linguistic divides. The argument opens with reference to Bob Dylan's famous song "The Times They Are A-Changing," whose evergreen topicality resulted not only in the emergence of its numerous official and unofficial covers and reinterpretations, but also generated translations into all major languages of the world, and which has provi

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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 (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, Achylle

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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 (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 i

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Nangwaya, Ajamu, and Adwoa Ntozake Onuora. "Reading Class Struggle and Promoting Class Consciousness through Bob Marley’s Protest Songs." Caribbean Quarterly 64, no. 2 (2018): 307–29. http://dx.doi.org/10.1080/00086495.2018.1480318.

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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 (2009): 413. http://dx.doi.org/10.5860/rusq.48n4.413.

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32

Clark, Brett, and Scott Borchert. "Pete Seeger, Musical Revolutionary." Monthly Review 66, no. 8 (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

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HÄBERLEN, JOACHIM C., and RUSSELL A. SPINNEY. "Introduction." Contemporary European History 23, no. 4 (2014): 489–503. http://dx.doi.org/10.1017/s0960777314000289.

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It might seem trivial and mere common sense to note that revolts and revolutions are deeply emotional moments. In history books and newspapers, we read about the tense and emotionally charged atmosphere that leads to violence when protestors confront police forces, or about furious and passionate crowds acting in defiance of the ideal of rational and coldblooded politics. But rage and anger are not the only emotions involved in the politics of protest. Consider the iconic photographs of the summer strikes during the French Popular Front in 1936, depicting smiling workers occupying their factor

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Msila, Vuyisile. "Reliving South African Apartheid History in a Classroom: Using Vuyisile Mini’s Protest Songs." Creative Education 04, no. 12 (2013): 51–57. http://dx.doi.org/10.4236/ce.2013.412a2008.

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Makina, Blandina. "Re-thinking white narratives: Popular songs and protest discourse in post-colonial Zimbabwe." Muziki 6, no. 2 (2009): 221–31. http://dx.doi.org/10.1080/18125980903250772.

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Cooper, B. Lee. "Which Side Are You On? 20th Century American History in 100 Protest Songs." Popular Music and Society 43, no. 1 (2019): 114–16. http://dx.doi.org/10.1080/03007766.2020.1678330.

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Ibarraran-Bigalondo, Amaia. "African-American and Mexican-American protest songs in the 20th century: Some examples." Journal of Popular Music Studies 29, no. 2 (2017): e12211. http://dx.doi.org/10.1111/jpms.12211.

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Zheludkova, E. G. "The Role of Speech Stereotypes in the Organization of French Protest Song Discourse (Chanson Engagée)." Bulletin of Kemerovo State University 22, no. 1 (2020): 234–41. http://dx.doi.org/10.21603/2078-8975-2020-22-1-234-241.

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The research featured the role of speech stereotypes in the formation of the discourse of protest songs, or chanson engagée, in the French language culture. The study included the method of continuous sampling, discursive analysis, and a descriptive method. Stereotype is a ready-to-use idea about a certain social group or phenomena. The research revealed a number of functions performed by speech stereotypes in the discourse of protest songs. Stereotypes appeared to have the following discourse organization function: they establish the horizontal relationship between communicators to create the

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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 (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 occ

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Cheruiyot, Chemutai Beatrice, Christopher Okemwa, and Nyangemi Bwocha. "Social Strategies Used by the Kipsigis Women to Contest Patriarchal Structures as Highlighted in the Songs of Diana Chemutai Musila and Babra Chepkoech." East African Journal of Interdisciplinary Studies 2, no. 1 (2020): 100–112. http://dx.doi.org/10.37284/eajis.2.1.215.

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Many women in Kenya, and in particular those in the Kipsigis community, are still faced with many challenges due to the patriarchal nature of their society, although the new Kenya constitution passed in 2010 provides a framework for attaining gender equality. Among the many methods of protest, art has been used in many societies as an instrument for contesting social ills including patriarchy. This has also been true to the Kipsigis community. Therefore, this research aimed to investigate the use of selected popular Kipsigis songs of Diana Chemutai Musila (Chelele) and Babra Chepkoech to conte

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YOUNG, DAVID. "Do Cicadas Radiate Sound through their Ear-Drums?" Journal of Experimental Biology 151, no. 1 (1990): 41–56. http://dx.doi.org/10.1242/jeb.151.1.41.

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1. Sound output was investigated in males of two cicada species, Cyclochila australasiae Donovan and Macrotristria angularis Ståhl. These are large insects, about 4.5 cm in length, with a typical arrangement of sound-producing organs. 2. Songs produced by both species consist of continuous trains of sound pulses, with a fundamental frequency close to 4 kHz. Higher harmonics fall below the 4 kHz peak by 20–30 dB. These songs are the loudest yet recorded among insects: HOdBSPL at 20cm for the protest songs of both species, and values as high as 115 dB for the vigorous calling songs of C. austral

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Lamikiz Jauregiondo, Amaia. "From folklore to patriotic and protest songs: Music, youth, and Basque identity during the 1960s." Nations and Nationalism 25, no. 4 (2019): 1280–95. http://dx.doi.org/10.1111/nana.12548.

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43

Makgopa, Mokgale, and Mmaphuti Mamaleka. "The psychodynamics of orality: Reflecting on protest songs during and after apartheid in South Africa." South African Journal of African Languages 39, no. 3 (2019): 305–14. http://dx.doi.org/10.1080/02572117.2019.1672340.

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Titus, Olusegun Stephen. "From Social Media Space to Sound Space: Protest Songs during Occupy Nigeria Fuel Subsidy Removal." Muziki 14, no. 2 (2017): 109–28. http://dx.doi.org/10.1080/18125980.2016.1249163.

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Galloway, Kate. "The aurality of pipeline politics and listening for nacreous clouds: voicing Indigenous ecological knowledge in Tanya Tagaq's Animism and Retribution." Popular Music 39, no. 1 (2020): 121–44. http://dx.doi.org/10.1017/s026114301900059x.

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AbstractTanya Tagaq's work is political, often tackling themes of environmentalism and Indigenous rights. The Inuk throat singer uses live performance and audiovisual media to engage themes of climate change and give voice to environmental violence. Her work diversifies the discourse of environmentalism to include the voices and environmental trauma experienced by marginalised peoples, specifically North American Indigenous-centred sounds and perspectives. Songs such as ‘Fracking’ from Animism (2014) and ‘Nacreous’ from Retribution (2016) are simultaneously expressions of ecological protest an

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Robb, David. "Narrative Role-Play in Twentieth-Century German Cabaret and Political ‘Song Theatre’." New Theatre Quarterly 26, no. 1 (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

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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

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Oza, Preeti. "History of Protest Literature in India: Trails from the Bhakti Literature." International Journal of Interreligious and Intercultural Studies 3, no. 2 (2020): 38–49. http://dx.doi.org/10.32795/ijiis.vol3.iss2.2020.711.

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Abstract: “Better is to live one day virtuous and meditative than to live a hundred years immoral and uncontrolled” (The Buddha) Bhakti movement in India has been a path-breaking phenomenon that provided a solid shape and an identifiable face to the abstractions with the help of vernacular language. As a religious movement, it emphasized a strong personal and emotional bond between devotees and a personal God. It has come from the Sanskrit word Bhaj- ‘to share’. It began as a tradition of devotional songs, hagiographical or philosophical – religious texts which have generated a com

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Morgan, Alison. "From Pantomime to Peterloo: ‘Hearts of Oak’ and the Contest for Englishness in Songs of Protest." Transactions of the Historic Society of Lancashire and Cheshire 168 (January 2019): 1–11. http://dx.doi.org/10.3828/transactions.168.3.

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Gelaye, Getie. "Contemporary Amharic Oral Poetry from Gojjam: Classification and a sample Analysis." Aethiopica 2 (August 6, 2013): 124–43. http://dx.doi.org/10.15460/aethiopica.2.1.537.

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In the preceding discussion, an attempt was made to provide a classification of Amharic oral poems and songs into several themes and genres. Accordingly, such major genres as work songs, children’s poems, war chants and boasting recitals were identified and a description and analysis of selected poems and their role, particularly in local politics and administration, were provided. In their poems and songs, the peasants of East Gojjam critically express their views, attitudes and feelings either in the form of support or protest, towards the various state policies and local directives.Indeed,

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