Table Of ContentMusic, Politics,
and Violence
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EDITED BY SUSAN FAST
AND KIP PEGLEY
Music, Politics,
and Violence
wesleyan university press
Middletown, Connecticut
Wesleyan University Press
Middletown CT 06459
www.wesleyan.edu/wespress
© 2012 Wesleyan University Press
All rights reserved
Manufactured in the United States of America
Typeset in Galliard by Integrated Publishing Solutions
Wesleyan University Press is a member of the Green Press Initiative.
The paper used in this book meets their minimum requirement for recycled paper.
Library of Congress Cataloging-in-Publication Data
Music, politics, and violence / edited by Susan Fast and Kip Pegley.
p. cm.
Includes bibliographical references and index.
isbn 978-0-8195-7337-7 (cloth: alk. paper)—isbn 978-0-8195-7338-4
(pbk.: alk. paper)—isbn 978-0-8195-7339-1 (ebook)
1. Music and violence. 2. Music and war. I. Fast, Susan. II. Pegley, Kip.
ml3916.m878 2012
306.4′842—dc23 2012020964
5 4 3 2 1
Contents
Acknowledgments vii
Introduction
susan fast and kip pegley 1
part i: objective and subjective violences 35
1. “A Healing Draft for a Sick People”:
War in the Pages of the Neue Zeitschrift für Musik, 1914–1918
nicholas attfield 39
2. The Afterlife of Neda Ukraden: Negotiating Space and
Memory through Popular Music after the Fall of Yugoslavia, 1990–2008
catherine baker 60
3. Between the Lines: “Lili Marlene,” Sexuality, and the Desert War
christina baade 83
4. The Changing Sounds of War: Television News Music
and Armed Confl icts from Vietnam to Iraq
james deaville 104
part ii: violence and reconciliation 127
5. Revivals and New Arrivals: Protest Song in the Al-Aqsa Intifada
david a. mcdonald 129
6. Pax Mevlana: Mevlevi Sufi Music and the Reconciliation
of Islam and the West
victor a. vicente 150
7. Choreographing (against) Coup Culture:
Reconciliation and Cross-Cultural Performance in the Fiji Islands
kevin c. miller 171
part iii: musical memorializations of violent pasts 195
8. Complementary Discourses of Truth and Memory:
The Peruvian Truth Commission and the Canción Social Ayacuchana
jonathan ritter 197
9. National Identity after National Socialism: German Receptions of the
Holocaust Cantata, Jüdische Chronik (1960/1961)
amy lynn wlodarski 223
Afterword: From Voice to Violence and Back Again
j. martin daughtry 243
Bibliography 265
List of Contributors 295
Index 299
Contents / vi
Acknowledgments
This book represents the culmination of a long journey. After watching the
fi rst mass-mediated post-9/11 benefi t concert unfold its narrative of Ameri-
can jingoism, delivered through a normative representational politics newly
emboldened by the crisis, we thought it urgent to write about these events.
We published two essays together and then began thinking about a larger
project. Some of the post-9/11 critical literature turned us toward a consid-
eration of violence and a desire to bring together scholars whose work en-
gaged with the subject of music and violence, particularly as it played out
within the context of the nation-state, either as an instrument of govern-
mentality, or as a foil to it. We would like to thank the authors who have
contributed to this volume: for their intellectually rich and important work
and for their patience as the book went through numerous revisions; con-
tributing to an edited collection can seem like an endless process, and their
generosity and cheerfulness throughout made our experience so much easier
and pleasurable.
The McMaster University Arts Research Board provided funding to hire
a research assistant as this project was drawing to a close. This assistant was
Laura Wiebe, whose editing, fact-checking, and work on permissions in the
penultimate version of the manuscript was simply extraordinary, as her
work always is. We also thank Katherine Mazurok, our research assistant at
Queen’s University, whose keen editorial eye during the last edit of the
manuscript was invaluable. We would also like to acknowledge Suzanne
Crosta, Dean, Faculty of Humanities; Mo Elbestawi, V.P. Research, Mc-
Master University; and the Social Science and Humanities Research Coun-
cil of Canada and the Queen’s University Offi ce of Research Services for
providing fi nancial support as the book went into production.
We owe a debt of gratitude to the series editors at Wesleyan University
Press, Annie Randall and Harry Berger, for supporting this project and for
their many helpful comments that improved the manuscript. We would
also like to acknowledge the anonymous reviewers of the manuscript whose
vii
comments helped strengthen the arguments we make in our introduction,
as well as those in a number of the essays. Thanks also to the team at Wes-
leyan: Parker Smathers, Susanna Taminem, and Leslie Starr.
We thank the IASPM Canada 2010 program committee for inviting us to
present portions of the introduction in a plenary session and Martin Daugh-
try for serving as respondent to our presentation at that conference. It was
the perspicuity of his comments that prompted us to invite him to write
them up as a postscript to the book, and we thank him for taking the time
and energy to shape those comments into a thoughtful conclusion to the
volume.
In 2010, as we were working on a crucial draft of this book, Kip was sud-
denly diagnosed with cancer. She would like to thank her family, friends,
and colleagues who gave her such tremendous support as she went through
treatment, and to the staff at the Princess Margaret Hospital, Toronto, for
their exceptional care. A special thanks to Julie L’Heureux, Susan Fast, and
Barbara Clarke for their love and bravery, and to her family, Mom, Dad,
Fred, Patricia, and Ellen, for standing next to her every step of the way.
Thank you, Susan, for our long conversations about culture and about life
over many years, and for sharing your intense love for music as well as your
infectious curiosity for what it all means. Finally, Kip would like to thank
Catherine Kellogg for her intellectual generosity as we wrote the introduc-
tion. More importantly, thank you, Catherine, for giving so wholeheartedly
when the news of illness came, for setting everything else aside and sup-
porting me physically, psychically, and emotionally so beautifully as I went
through treatment and recovery. There are no words.
Susan would like to thank Catherine Graham, Liss Platt, and Stan Haw-
kins for their willingness to listen to ideas, often not quite fully formed; her
thanks to these colleagues — also friends — and her sister, Louise Punnett,
for their constant support. Thanks to Kip for pursuing this project through
all the many twists and turns of work and life, even her diffi cult illness; for
her intellectual openness; and for sharing an unbridled passion for music
and how it works to produce culture. She would like to dedicate her work
on this project to her mother, Frieda, and late father, Abe, who came to-
gether amid the violence of war — World War II. Their experiences in that
confl ict shaped their lives and those of their children in many ways, one of
them being her intellectual interest in the subject of this book.
Acknowledgments / viii
Introduction
susan fast and kip pegley
Although it is now commonplace to observe that we can destroy our-
selves and the planet in ways unimaginable to those living even two genera-
tions ago, the sheer fact of this capacity has given rise to an unprecedented
interest — from sociologists, philosophers, lawyers, political scientists and
psychologists — in the meaning and workings of violence. Given that, as
Martin Cloonan and Bruce Johnson observe, there is often a “tacit assump-
tion that . . . music is inevitably personally and socially therapeutic,”1 it
might at fi rst blush seem odd that those who study music have also recently
become interested in the subject of violence.2 But music, as much as any
other cultural object, is implicated in such phenomena as the power, reach,
and seeming unassailability of global capital, the unleashing of new tech-
nologies of destruction, human aggression, the proliferation of laws of war,
genocide, nation building, concepts of otherness, and discourses of “toler-
ance.” Just as poetry or photography can “frame” acts of violence, or be
framed so as to interpret those acts in particular ways, as Judith Butler has
argued,3 so too can music.
Despite music’s richness as a medium for understanding violence or con-
fl ict, the scholarly fi elds of musicology and ethnomusicology, until quite
recently, have paid relatively little attention to either concept.4 There are no-
table exceptions, of course, dating to the end of the twentieth century, when
confl ict-centered ethnomusicological, musicological, and popular music
texts began to emerge; in the aftermath of 9/11, this area of research quickly
swelled. Noteworthy books targeting a particular people, musical genre,
confl ict, or means for confl ict resolution included Pettan’s Music, Politics,
and War: Views from Croatia (1998); Sweeney’s Singing Our Way to Victory:
French Cultural Politics and Music During the Great War (2001); Wolfe and
Akenson’s Country Music Goes to War (2005); Daughtry and Ritter’s Music
1
