Later, from the 1940s through the 1960s, groups like the Almanac Singers and The Weavers were influential in reviving this type of socio-political music. The most famous songwriter of the early 20th century " Wobblies" was Joe Hill. During the early part of the 20th century, poor working conditions and class struggle lead to the growth of the Labour movement and numerous songs advocating social and political reform. Pete Seeger was involved in the popularisation of the song, as was Joan Baez. The song " We Shall Overcome" is perhaps the best-known example of political folk music, in this case a rallying-cry for the US Civil Rights Movement. When modes of music change, the fundamental laws of the state always change with them " although this was written as a warning it can be taken as a revolutionary statement that music is much more than just melodies and harmonies but an important movement in the life of all human beings.įolk music American folk revival
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Plato wrote: "musical innovation is full of danger to the whole state, and ought to be prohibited. Recent research has also suggested that in many schools around the world, including in modern democratic nations, music education has sometimes been used for the ideological purpose of instilling patriotism in children, and that particularly during wartime patriotic singing can escalate to inspire destructive jingoism. However, in contrast they cite research that concludes, based on interpretive readings of lyrics and performances with a strong emphasis on historical contexts and links to social groups, that "given the right historical circumstances, cultural conditions, and aesthetic qualities, popular music can help bring people together to form effective political communities".
Pedelty and Keefe argue that "It is not clear to what extent the political messages in and around music motivate fans, become a catalyst for discussion, function aesthetically". For example, Bleich and Zillmann found that "counter to expectations, highly rebellious students did not enjoy defiant rock videos more than did their less rebellious peers, nor did they consume more defiant rock music than did their peers", suggesting there may be little connection between behaviour and musical taste. It is difficult to predict how audiences will respond to political music, in terms of aural or even visual cues. Conversely, there is the possibility of the meaning of deliberate political content being missed by its intended audience, reasons for which could include obscurity or delivery of message, or audience indifference or antipathy. This points to the possibilities for discrepancy between the political intentions of musicians (if any), and reception of their music by wider society. įurthermore, some forms of music may be deemed political by cultural association, irrespective of political content, as evidenced by the way Western pop/rock bands such as The Beatles were censored by the State in the Eastern Bloc in the 1960s and 1970s, while being embraced by younger people as symbolic of social change. Thus a distinction has been made, for example, between the use of music as a tool for raising awareness, and music as advocacy. The nature of that message can also be ambiguous because the label "political music" can be applied either to songs that merely observe political subjects, songs which offer a partisan opinion, or songs which go further and advocate for specific political action.
However, there may be barriers to the transmission of such messages even overtly political songs are often shaped by and reference their contemporary political context, making an understanding of the history and events that inspired the music necessary in order to fully comprehend the message. Songs can be used to portray a specific political message.
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