Popular Music and Human Rights: World musicIan Peddie Ashgate Publishing, Ltd., 2011 - 218 Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. |
Kluczowe wyrazy i wyrażenia
Aboriginal AC/DC activities Adorno album Ann Lovett anti-Soviet apartheid artists audience Australia bands became Beijing Bosnia and Herzegovina Carsick Cars celebrations Chile Chilean China Chinese rock Communist concert context critique Croatian Cui Jian cultural dance discotheque discourse Dniepropetrovsk dominant expression fans fascist festival folk music folklore ensembles folklorists freedom genre global groups heavy metal human rights identity ideological ideologists Indigenous instruments Irish Janjatović Jara's Komsomol Latvian LeVine listening Long March major Maoists melody metal scenes metalheads Middle modern musicians Muslim world nationalist neo-folklore movement Nepali official parties performance Personal interview Pink Floyd played Plegaria police political popular music protest punk Records region Revolution revolutionary rock music Serbian singer singing social society song Soviet stanza struggle style subcultures symbols traditional music turbo-folk Ukrainian University urban Víctor Jara violence voice Western women Yirrkala Yolŋu Yothu Yothu Yindi young youth Yugoslavia Zhongnanhai