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Download PDF by Mark Mattern: Acting in Concert: Music, Community, and Political Action

By Mark Mattern

ISBN-10: 0813524849

ISBN-13: 9780813524849

I'm a scholar of Mark Mattern at Baldwin-Wallace university. This e-book presents a few perception into a space of Political technological know-how that doesn't mentioned in educational literature. A needs to learn for Political technological know-how majors round the state.

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Extra info for Acting in Concert: Music, Community, and Political Action

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17. The "mourning women . . dressed in black" are the mothers of Chileans who have been detained or who have disappeared. 18. Throughout Santiago, bus drivers typically allow vendors and performers to board their bus without paying. These vendors and performers remain on a bus only long enough to work the crowd and then disembark to board the next bus that comes along. 19. I observed and recorded each of these scenes, and many others like them, during June and July 1989. 20. Poets, clowns, actors, writers, and orators also appeared in the streets of Santiago, attempting, like musicians, to open public spaces to express political messages of opposition to Pinochet and affirm democratic alternativesand, not incidentally, earn some extra pesos.

No one was ever identified or charged with the crime, but Jara was blamed by many on the political right, who claimed that his song had fanned the hatred behind the assassination. 43 44 8. For example, the premier edition of its Revista de Folklore (1970) featured prominent advertisements by unions such as La Federación Eléctrica [the electrical federation] and La Confederación Nacionál de Trabajadores del Cobre [the national confederation of copper workers]. 9. See also, for example, Victor Jara's "Angelita Huenumán" (1965) in which he sang about the simple but creative and dignified life of a woman from the marginalized rural areas whom he met on one of his many tours of the Chilean countryside.

Although blues music reflects relative powerlessness, Cary argues that it also provides a counteractive ideology for its listeners. In other words, he does not reduce blues music merely to being a passive reflector of other power relations, as does Adorno. See also Susan McClary (1991), who interprets music in terms of what it reveals about relations of power between genders. 42 43 14. Although this connection between power and popular music has been noted by other researchers, the connection remains largely implicit in their work.

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Acting in Concert: Music, Community, and Political Action by Mark Mattern


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