{"id":1015,"date":"2022-02-24T18:47:53","date_gmt":"2022-02-24T17:47:53","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/?p=1015"},"modified":"2025-02-14T11:17:27","modified_gmt":"2025-02-14T10:17:27","slug":"ambivalences-in-music-and-democracy","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/ambivalences-in-music-and-democracy\/","title":{"rendered":"Ambivalences in Music and Democracy"},"content":{"rendered":"

Introductory Remarks<\/h2>\n

by Marko K\u00f6lbl and Fritz Tr\u00fcmpi<\/em><\/h3>\n

<\/span>How to cite<\/span><\/h4>

<\/span>How to cite<\/span><\/h4>

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K\u00f6lbl, Marko, and Fritz Tr\u00fcmpi. 2021. \u201cAmbivalences in Music and Democracy. Introductory Remarks.\u201d In Music and Democracy. Participatory Approaches<\/i>, edited by Marko K\u00f6lbl and Fritz Tr\u00fcmpi. mdwPress. https:\/\/doi.org\/10.14361\/9783839456576<\/a>. Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\n<\/p><\/div><\/div><\/div>
Chapter PDF<\/a><\/span><\/div>
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<\/span>About the authors<\/span><\/h4>

<\/span>About the authors<\/span><\/h4>

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Marko K\u00f6lbl<\/b> is an ethnomusicologist and senior scientist at the Department of Folk Music Research and Ethnomusicology at mdw \u2013 University of Music and Performing Arts Vienna. He is specialized in music and dance of minorities and migrant communities with an interest in intersectional, queer-feminist, and postcolonial perspectives.<\/p>\n

Fritz Tr\u00fcmpi<\/b> is a musicologist and associate professor at the Department of Musicology and Performance Studies at mdw \u2013 University of Music and Performing Arts Vienna. His research focuses on the history of music industries and musicians’ organisations, music & politics, and music culture(s) of the late Habsburg Empire and its successor states.<\/p>\n<\/p><\/div><\/div><\/div>

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After Donald Trump\u2019s failed re\u2010election as President of the United States of America in fall 2020, the Republicans\u2019 out\u2010of-the\u2010blue claims of \u201celectoral fraud\u201d is just one of countless warning signs: to varying extents and degrees, democracy is in great danger all over the world. Already in the early 2000s, Colin Croach noted a subtle but increasing demolition of\u2014but also an increased disinterest in\u2014political participation of the people, which he considered as main characteristics of \u201cpost\u2010democracy.\u201d<\/span>1<\/sup><\/a><\/span> However, despite the doubtlessly growing interventions (of growing severity) of political as well as economic elites against liberal and democratic values and structures, it cannot be overlooked that also resistance against limitations on the people\u2019s active participation in political life is growing and spreading. Some of these protest movements are globally connected, operating in many parts of the world (such as \u201cFridays for Future\u201d or \u201cBlack Lives Matter\u201d), while others are acting primarily on a country\u2010by-country basis, within specific regions, or even communally.<\/span><\/p>\n

An illustrative example of regional protests that address the broader political climate is the \u201cIbiza affaire,\u201d to which this book\u2019s cover refers. After the infamous Ibiza tapes leaked,<\/span>2<\/sup><\/a><\/span> the governmental crisis in Austria resulted in public protests that were profoundly shaped by music and dancing. Various musical actors provided the soundscape for political protest, spanning from post\u2010migrant rap to activist choirs. This volume\u2019s cover photo captures a historic moment in the course of this governmental crisis. The fact that the eponymous tapes were secretly recorded at a rented <\/span>finca<\/i><\/span> on Ibiza, Spain, resulted in a sudden revival of the 1999 song \u201cWe\u2019re Going to Ibiza\u201d by the \u201990s Euro Dance band Venga Boys. The song became the soundtrack of the protest, was used in TV coverage and ranked number one on the Austrian Spotify charts. It achieved definite political significance when Venga Boys performed it from their tour bus in front of the main government\u2019s building at Vienna\u2019s Ballhausplatz, where an enormous dancing and singing crowd celebrated the expected fall of the government. The song\u2019s musical qualities and its topical apoliticality\u2014\u201990s synthetic club sounds dealing with partying in Ibiza\u2014are not exactly what one would call a prime example of democratic content in music. Precisely the song\u2019s trashy aura, however, helped to point out the political critique of cheap corruption and simultaneously showcased contemporary protest culture\u2019s entanglement with club culture and party making. <\/span><\/p>\n

While a rich body of literature has explored in recent years how individuals and groups use music as a resource to achieve social, cultural, and political participation and to bring about social change in society,<\/span>3<\/sup><\/a><\/span> the present volume specifically focuses on the addressed tensional dichotomy. Its various contributions investigate the manifold ways of music\u2019s use by activists, but also by political groups and even governments, exploring emancipative processes and mirroring them with the implementation of nationalist, authoritarian, fascist, or neoliberal political ideas. Furthermore, the volume is also concerned with the promise and myth of democratization through technology in regard to music production, distribution, and reception\/appropriation. <\/span><\/p>\n

However, the addressed dichotomy\u2014the existence of a causal link between governmental repression and the formation of protest movements\u2014is anything but new. A short look back to the long nineteenth century in Europe, for example, shows this, for instance with regard to the revolutionary acts around 1848 across the continent (and in other parts of the world), when (the not only but predominantly bourgeois) parts of the population revolted against the repressive <\/span>ancien r\u00e9gime<\/i><\/span> (which came back to power after the French Revolution had lost its claims and influence). And these revolutionaries did so not least by using music as an important tool of their political struggle: be it by singing revolutionary songs (as done, among others, by protesting students) or by performing noise (\u201cCharivari\u201d) during protest marches, or by composing for the revolution (e.g. the <\/span>Revolutions-Marsch<\/i><\/span> by Johann Strauss Sohn, but also operas like Gustav Albert Lortzing\u2019s <\/span>Regina<\/i><\/span>, representing the genre of \u201copera of freedom\u201d). The revolts of 1848 can therefore, admittedly among many other aspects, also be considered as a musical empowerment of the people, or more precisely, in predominant cases, of the bourgeois protagonists (if not of the bourgeoisie as such), as recently shown in a voluminous anthology edited by Barbara Boisits.<\/span>4<\/sup><\/a><\/span><\/p>\n

However, the revolutionary frequently threatens to become reactionary: the claims of freedom for the people raised by the revolts\u2019 protagonists of 1848 turned soon into severe claims of nationalism, identifying people more and more as national subjects. And again, music served as an important means of communication when nationalist groups tried to press their case, for instance by the men\u2019s choral societies that had been flourishing since the mid\u2010nineteenth century.<\/span>5<\/sup><\/a><\/span> With the rise of nationalist aspirations, the inclusion and exclusion of certain groups among the population also increased. And it did so not at least with regard to the production, performance, and consumption of music (of any kind), as (for instance) Philip Bohlman showed in a long\u2010term perspective ranging from the end of the nineteenth century up to the early twenty\u2010first.<\/span>6<\/sup><\/a><\/span><\/p>\n

After a first peak of devastating violence in the name of nationalism in World War I and the dissolution of imperial Europe, the establishment of more or less democratic\u2010structured republics across the continent happened only hesitantly and was in many cases short lived. This, by reflecting the role of music within the fragile and ambivalent democratization, marks the starting point of the present volume. The contribution of David Ferreiro Carballo<\/b> deals with the question of how political impacts on bourgeois music culture became implemented within this phase of governmental transition in Spain. He does so with regard to the creation of the National Society of Music, by investigating the repertoire policies of this institution.<\/p>\n

What followed, resulting not at least from the republics\u2019 weaknesses, which were caused by fragile democratic structures, was the rise and consolidation of fascism. Implemented first in Italy by Mussolini and his henchmen, it soon covered large parts of Europe. Studying fascism shows\u2014until today without comparison\u2014the devastating instrumentalization of governments acting in the name of \u201cthe people\u201d while simultaneously excluding any political participation in a democratic sense. Without a doubt, the sphere of music was highly affected by this fascization of politics and society, as numerous scholars were able to show in the recent past, mainly with regard to Nazi Germany (and Austria).<\/span>7<\/sup><\/a><\/span> In this volume, <\/span>Gabrielle Prud\u2019homme<\/b><\/span> examines the political appropriation of Giuseppe Verdi in Fascist Italy by studying the celebrations surrounding the fortieth anniversary of Verdi\u2019s death in 1941. Thereby, the author sheds light on how Mussolini\u2019s regime maintained its grip on the commemorations and disseminated a discourse entirely consistent with the fascist political and ideological agenda.<\/span><\/p>\n

But even under fascist regimes, music did not exclusively fulfil the purposes of the official political agenda. It was, on the contrary, not uncommon to also use music for political protests (albeit for the most part in rather subliminal forms, for fear of repression and persecution); the documented performative acts of the \u201cSwing-Jugend\u201d (Germany) or the \u201cSchlurfs\u201d (Austria) under the Nazi regime may be exemplary here.<\/span>8<\/sup><\/a><\/span> The same applies to political opposition movements in other totalitarian systems of rule. In her essay on the history of \u201cbootleg\u201d sound recordings of the twentieth century, <\/span>Marsha Siefert<\/b><\/span> explores the world of <\/span>magnitizdat<\/i><\/span> (as underground music recordings in the Soviet Union were called). She does so by comparing them with \u201cbootleg\u201d opera recordings in the United States, considering both as a way of \u201cdemocratizing\u201d accesses to music provided by bards (USSR) and music fans (USA).<\/span><\/p>\n

As implemented in this essay, highlighting the sphere of consumption and distribution of music as a participatory act, and thus as a specific form of artistic practice, adds important perspectives on music and democracy, complementing the more commonly used foci on composing and performing. This understanding obviously meets Christopher Small\u2019s concept of \u201cmusicking,\u201d where both the act of performing and the act of listening are equally considered to be predominant musicological research parameters.<\/span>9<\/sup><\/a><\/span> In this context, we would like to point not least to the growing field of research that has been dedicated to the manifold aspects of digitalization in\/of music.<\/span>10<\/sup><\/a><\/span> Research on various forms of such \u201cmediamorphosis\u201d include, among others, investigations on the effects for democratization, including possibilities of self\u2010representation, modes of participation for consumers, or business models in music and media. In their contribution, <\/span>Rapha\u00ebl Nowak and Ben Morgan<\/b><\/span> investigate interactive commercial services within the \u201cdigital ecosystem\u201d by placing a critical perspective on \u201cdemocratization\u201d in its ambivalence, but at the same time by understanding it as a key indicator for evaluating the distribution of music content on streaming platforms.<\/span><\/p>\n

A few decades before online streaming platforms shaped music consumption, television shows that featured music were central to popular music distribution as well as the public discourses on popular music. These programs were inherently political, as illustrated by Dean Vuletic<\/b> in his text. Vuletic discusses Europe\u2019s political split, defined through presumed levels of democracy building on \u201ca longer history of West European cultural prejudice against Central and East Europe\u201d (p. 182). The Intervision Song Contest offered a separate \u201cEastern\u201d realm for presenting popular music in a competitive format while constituting an arena for the complex dynamics within the chosen regional frame of the singing competition.<\/p>\n

Music itself often carries notions of professionalism and elitism that foster a fairly undemocratic image. Specifically, Western classical music\u2019s harsh education system and its high standards of excellence and virtuosity presume a wide range of preconditions seemingly necessary for active musical expression. Similarly, the global pop music scene departs from an understanding of music that is highly professionalized and focuses on idealized individual star figures rather than the collective and social dimensions of music making. However, as a collective and inherently social expression by people notwithstanding their musical educations, instrumental or vocal capabilities, and stylistic preferences, music shows its profoundly democratic qualities. Social movements often rely on democratic ways of musicking that foreground grassroots, \u201cbottom\u2010up\u201d and Do-It-Yourself approaches that help to articulate demands for social justice and challenge political hegemonies.<\/span>11<\/sup><\/a><\/span> In their contribution, <\/span>Milena Dragi\u010devi\u0107 \u0160e\u0161i\u0107 and Julija Mateji\u0107<\/b><\/span> trace various scenarios of musical activism\u2014\u201cartivism\u201d\u2014in Serbia during the 1990s. The specific contemporary history of the region, the democratic upheavals, and the discussed musical and expressive styles and genres exemplarily showcase music\u2019s and art\u2019s usage in creating counterpublics, defining citizenship, and enabling participation. <\/span><\/p>\n

As Dragi\u010devi\u0107 \u0160e\u0161i\u0107 and Mateji\u0107 show, instances of musical activism often align their aesthetic preferences and content with their political message. The examples are manifold: Activist choirs that appropriate specific political histories of music for contemporary political struggle,<\/span>12<\/sup><\/a><\/span> feminist and queer performance groups that contest heteronormative exclusion through musical and bodily aesthetics and\/or anti\u2010racist expressions that foreground the identity\u2010political meanings of music and dance. India\u2019s anti\u2010caste movement, for example, draws on musical traditions that emphasize a Dalit self\u2010empowerment, contesting racist and classist social orders.<\/span>13<\/sup><\/a><\/span><\/p>\n

A contrasting example of music\u2019s impact is provided by Ond\u0159ej Daniel<\/b> in his essay. Daniel\u2019s class\u2010sensitive discussion of hardbass, \u201ca predominantly Eastern European electronic dance music style\u201d (p. 205) that spread from Russia in the 2000s, shows how music relates to fast\u2010changing political meanings. Through the example of this unique dance and fashion phenomenon\u2014a \u201cworking class mimicry\u201d\u2014Daniel traces the genre\u2019s satirical beginnings, its connection to far\u2010right politics, and its subsequent de\u2010politicization.<\/p>\n

Here, music\u2019s (anti-)democratic capacities become apparent off the beaten tracks of established musical canons and the global music industry. Regional popular music forms, community\u2010based music traditions, orally transmitted musics, and the like make up the central expressive formats of communities (however they are defined), allowing for democratic meaning within music and dance. Specifically, the music and performance practices of minorities and marginalized groups often aim to challenge and subvert dominant norms and classifications. Since power hegemonies frequently inhibit an appropriate representation of minorities and marginalized groups, the communities in question apply their own expressive agency in contesting subordination. This expressive agency of course encompasses various styles and genres of music and performing arts.<\/p>\n

One such particular musical style\u2014Deaf hip hop\u2014is the topic of Katelyn Best<\/b>\u2019s<\/b> chapter. In it, Best shows how musical agency functions within a community that is commonly perceived as voiceless. Her detailed ethnographic account on musical inclusivity through this specific form of hip hop highlights music\u2019s efficacy in negotiating social exclusion and structural discrimination. As \u201csound in Deaf culture is signified across sensory modalities\u201d (p. 317), Deaf hip hop expands the common understanding of music and sound and displays a powerful example of musical participation and the relationship between democracy and music.<\/p>\n

Migration and border regimes poignantly illustrate the relationship between democracy and the aforementioned variety of musical and performing practices. Music, here, serves as a tool of diasporic relocation that contests both ethnicization and racialization as well as assimilation and the reduction of cultural rights. In migratory settings, musicking enables translation, defines dynamics of Othering processes, and simultaneously gains meaning in socio\u2010political change in various settings, from diaspora to exile.<\/span>14<\/sup><\/a><\/span> At the same time, music, and specifically dance, can be useful in propagating ethno\u2010nationalist and gender\u2010stereotypical ideas of ethnicity, as <\/span>Rumya Putcha<\/b><\/span> shows in her text. Drawing on her own positionality and own experience with the transnational South Indian dance education system, she offers meaningful insight into how this ethnically marked performance culture is bound to maintain the classist imaginaries of caste, gender, and ethnicity. <\/span><\/p>\n

The present volume gathers various and diverse perspectives on the relationships between music and democracy that are based on contributions to the international conference \u201cParticipatory Approaches to Music & Democracy,\u201d the 2018 edition of isaScience (mdw\u2014University of Music and Performing Arts Vienna). In addition to selected conference participants and keynote speakers, this volume also includes other invited authors that we chose to adequately represent the thematic breadth of political participation, democracy, and music.<\/p>\n

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References<\/h5>\n

Adlington, Robert and Esteban Buch. Finding Democracy in Music<\/i>. London: Routledge, 2021.<\/p>\n

Ajotikar, Rasika. \u201cReflections on the Epistemic Foundations of Music in Modern India through the Lens of Caste: A Case from Maharashtra, India.\u201d Ethnomusicology Matters: Influencing Social and Political Realities<\/i>, edited by Ursula Hemetek, Marko K\u00f6lbl, and Hande Sa\u011flam, 135\u201362. Vienna: B\u00f6hlau, 2019.<\/p>\n

Beyer, Wolfgang and Monica Ladurner, Im Swing gegen den Gleichschritt. Die Jugend, der Jazz und die Nazis. <\/i>Salzburg: Residenz Verlag, 2011.<\/p>\n

Bohlman, Philip. Focus: Music, Nationalism, and the Making of the New Europe.<\/i> New York: Routledge, 2011.<\/p>\n

Boisits, Barbara, ed. Musik und Revolution. Die Produktion von Identit\u00e4t und Raum durch Musik in Zentraleuropa 1848\/49. <\/i>Vienna: Hollitzer, 2013.<\/p>\n

Crouch, Colin. Coping with Post-Democracy<\/i>. Cambridge: Fabian Society, 2000.<\/p>\n

Hemetek, Ursula, Marko K\u00f6lbl, and Hande Sa\u011flam, eds. Ethnomusicology Matters: Influencing Social and Political Realities.<\/i> Vienna: B\u00f6hlau, 2019.<\/p>\n

Hesmondhalgh, David. \u201cHave Digital Communication Technologies Democratized the Media Industries?\u201d In Media and Society<\/i>, edited by James Curran and David Hesmondhalgh, 6th ed., 101\u201320. London: Bloomsbury, 2019.<\/p>\n

Hofman, Ana. \u201cDisobedient: Activist Choirs, Radical Amateurism, and the Politics of the Past after Yugoslavia.\u201d Ethnomusicology<\/i> 64, no. 1 (2020): 89\u2013109.<\/p>\n

Kasinitz, Philipp and Marco Martiniello, eds. Ethnic and Racial Studies<\/i> 42, Special Issue: \u201cMusic, Migration and the City\u201d (2019)<\/p>\n

Levi, Erik. Music in the Third Reich.<\/i> Basingstoke: Macmillan, 1994.<\/p>\n

Love, Nancy. Musical Democracy<\/i>. Albany, NY: State University of New York Press, 2006.<\/p>\n

Love, Nancy. Trendy Fascism: White Power Music and the Future of Democracy<\/i>. Albany, NY: State University of New York Press, 2016.<\/p>\n

Mecking, Sabine. \u201cGelebte Empathie und donnerndes Pathos. Gesang und Nation im 19. Jahrhundert.\u201d In Musik\u2014Macht\u2014Staat. Kulturelle, soziale und politische Wandlungsprozesse in der Moderne<\/i>, edited by Sabine Mecking and Yvonne Wasserloos, 99\u2013126. G\u00f6ttingen: V&R Unipress, 2012.<\/p>\n

Potter, Pamela. Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler\u2019s Reich.<\/i> New Haven: Yale University Press, 1998.<\/p>\n

Ramnarine, Tina, ed. \u201cMusical Performance in the Diaspora.\u201d Special Issue, Ethnomusicology Forum<\/i> 16, no. 1 (June 2007).<\/p>\n

Rathkolb, Oliver. F\u00fchrertreu und gottbegnadet. K\u00fcnstlereliten im Dritten Reich.<\/i> Vienna: \u00d6sterreichischer Bundesverlag, 1991.<\/p>\n

Redepenning, Dorothea. \u201c\u2018… unter Blumen eingesenkte Kanonen …\u2019. Substanz und Funktion nationaler Musik im 19. Jahrhundert.\u201d Das Andere. Eine Spurensuche in der Musikgeschichte des 19. und 20. Jahrhunderts<\/i>, edited by Annette Kreutziger-Herr, 225\u201345. Frankfurt\/Main: Lang, 1998.<\/p>\n

Small, Christopher. Musicking: The Meanings of Performing and Listening<\/i>. Middletown, CT: Wesleyan University Press, 1998.<\/p>\n

Toynbee, Jason and Byron Dueck. Migrating Music.<\/i> London: Routledge, 2012.<\/p>\n

Tr\u00fcmpi, Fritz. The Political Orchestra: The Vienna and Berlin Philharmonics during the Third Reich.<\/i> Chicago: University of Chicago Press, 2016.<\/p>\n

Endnotes<\/h4>\n

1 <\/a>Colin Crouch, ed., Coping with Post-Democracy<\/i> (Cambridge: Fabian Society, 2000).<\/span><\/span><\/p>\n

2 <\/a>Former Austrian vice chancellor H.C. Strache and his fellow party member Johann Gudenus from the far\u2010right party FP\u00d6 were caught on tape initiating corrupt deals with the supposed niece of a Russian oligarch. The release of the video evoked public civil protests and resulted in the resignation of the two politicians, the dissolution of the government, and subsequent early parliament elections. <\/span><\/span><\/p>\n

3 <\/a>Above all, we would like to point on the only recently published anthology edited by Robert Adlington and Esteban Buch, Finding Democracy in Music<\/i> (London: Routledge, 2021). Representative of many others, we furthermore point to the important and influential writings of Nancy Love, including Musical Democracy<\/i> (Albany, NY: State University of New York Press, 2006) and Trendy Fascism: White Power Music and the Future of Democracy<\/i> (Albany, NY: State University of New York Press, 2016).<\/span><\/span><\/p>\n

4 <\/a>Barbara Boisits, ed., <\/span>Musik und Revolution. <\/i><\/span>Die Produktion von Identit\u00e4t und Raum durch Musik in Zentraleuropa 1848\/49<\/i> (Vienna: Hollitzer, 2013).<\/span><\/span><\/p>\n

5 <\/a>See, e.g., Sabine Mecking, \u201cGelebte Empathie und donnerndes Pathos. Gesang und Nation im 19. Jahrhundert,\u201d in Musik\u2014Macht\u2014Staat. Kulturelle, soziale und politische Wandlungsprozesse in der Moderne<\/i>, ed. Sabine Mecking and Yvonne Wasserloos (G\u00f6ttingen: V&R Unipress, 2012), 99\u2013126; Dorothea Redepenning, \u201c\u2018… unter Blumen eingesenkte Kanonen …\u2019. Substanz und Funktion nationaler Musik im 19. Jahrhundert,\u201d in Das Andere. Eine Spurensuche in der Musikgeschichte des 19. und 20. <\/i>Jahrhunderts<\/i><\/span>, ed. Annette Kreutziger-Herr (Frankfurt\/Main: Lang, 1998), 225\u201345.<\/span><\/span><\/span><\/p>\n

6 <\/a> See, e.g., Philip Bohlman, Focus: Music, Nationalism, and the Making of the New Europe<\/i> (New York: Routledge, 2011).<\/span><\/span><\/p>\n

7 <\/a>To name only a few of the most influential: Oliver Rathkolb, F\u00fchrertreu und gottbegnadet. K\u00fcnstlereliten im Dritten Reich<\/i> (Vienna: \u00d6sterreichischer Bundesverlag, 1991); Erik Levi, Music in the Third Reich<\/i> (Basingstoke: Macmillan, 1994); Pamela Potter, Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler\u2019s Reich<\/i> (New Haven: Yale University Press, 1998); Fritz Tr\u00fcmpi, The Political Orchestra: The Vienna and Berlin Philharmonics during the Third Reich<\/i> (Chicago: University of Chicago Press, 2016).<\/span><\/span><\/p>\n

8 <\/a>See e.g. Wolfgang Beyer and Monica Ladurner, Im Swing gegen den Gleichschritt. Die Jugend, der Jazz und die Nazis <\/i>(Salzburg: Residenz Verlag, 2011).<\/span><\/span><\/p>\n

9 <\/a>Christopher Small, Musicking: The Meanings of Performing and Listening<\/i> (Middletown, CT: Wesleyan University Press, 1998).<\/span><\/span><\/p>\n

10 <\/a>In the context of music and democracy, cf. especially David Hesmondhalgh, \u201cHave Digital Communication Technologies Democratized the Media Industries?,\u201d in Media and Society<\/i>, ed. James Curran and David Hesmondhalgh, 6th ed. (London: Bloomsbury, 2019), 101\u201320.<\/span><\/span><\/p>\n

11 <\/a>See Ursula Hemetek, Marko K\u00f6lbl, and Hande Sa\u011flam, Ethnomusicology Matters: Influencing Social and Political Realities<\/i> (Vienna: B\u00f6hlau, 2019).<\/span><\/span><\/p>\n

12 <\/a>See also Ana Hofman, \u201cDisobedient: Activist Choirs, Radical Amateurism, and the Politics of the Past after Yugoslavia,\u201d Ethnomusicology<\/i> 64, no. 1 (2020): 89\u2013109.<\/span><\/span><\/p>\n

13 <\/a>See Rasika Ajotikar, \u201cReflections on the Epistemic Foundations of Music in Modern India through the Lens of Caste: A Case from Maharashtra, India,\u201d in Ethnomusicology Matters: Influencing Social and Political Realities<\/i>, ed. Ursula Hemetek, Marko K\u00f6lbl, and Hande Sa\u011flam (Vienna: B\u00f6hlau, 2019), 135\u201362.<\/span><\/span><\/p>\n

14 <\/a>To name only a few central publications: Philipp Kasinitz and Marco Martiniello, eds., Ethnic and Racial Studies<\/i> 42, Special Issue: \u201cMusic, Migration and the City\u201d (2019); Jason Toynbee and Byron Dueck, Migrating Music<\/i> (London: Routledge, 2012); Tina Ramnarine, ed., Ethnomusicology Forum <\/i>16, no. 1, Special Issue: \u201cMusical Performance in the Diaspora\u201d (2007).<\/span><\/span><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Introductory Remarks by Marko K\u00f6lbl and Fritz Tr\u00fcmpi After Donald Trump\u2019s failed re\u2010election as President of the United States of America in fall 2020, the Republicans\u2019 out\u2010of-the\u2010blue claims of \u201celectoral fraud\u201d is just one of countless warning signs: to varying extents and degrees, democracy is in great danger all over the world. Already in the …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[40],"tags":[],"class_list":["post-1015","post","type-post","status-publish","format-standard","hentry","category-music_dem"],"yoast_head":"\nAmbivalences in Music and Democracy – mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/ambivalences-in-music-and-democracy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ambivalences in Music and Democracy – mdwPress\" \/>\n<meta property=\"og:description\" content=\"Introductory Remarks by Marko K\u00f6lbl and Fritz Tr\u00fcmpi After Donald Trump\u2019s failed re\u2010election as President of the United States of America in fall 2020, the Republicans\u2019 out\u2010of-the\u2010blue claims of \u201celectoral fraud\u201d is just one of countless warning signs: to varying extents and degrees, democracy is in great danger all over the world. 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