The critical composer: Political music during and after 'The Revolution'.

摘要

This dissertation explores the history, theory and practice of political classical music, from the 1917 to the present, through the lens revolutionary ideology. Exploring repertoire from two periods of revolutionary tumult in America---the 1930s and the 1970s---it seeks to understand what, if anything, is inherently political about music and what, of music's political elements, are merely ideological additions. Holding that today may be considered something of a post-revolutionary period in America, it seeks to determine what effective political music might look like in the twenty-first century.;Chapter One lays the philosophical groundwork for the thesis and presents the assumptions held by the author. It discusses theories of the political in music by Lydia Goehr, Neil Nehring, Michael Denning, Theodor Adorno and Friedrich Nietzsche, and challenges the idea that art must be kept separate from politics; that political engagement and artistic quality cannot co-exist.;Chapter Two looks to early Communism for the practical and ideological roots of revolutionary classical music, including a brief history of the Communist Party. It offers some analysis of the earliest interpretations of radical music within the communist context, including works in both modernist and "proletarian grotesque" styles by Blitzstein, Siegmeister, Copland and Eisler. It concludes with an introduction to the theory and history of the Popular Front, exploring the history of the Composers' Collective and discussing the impact that Communist Party policy changes had upon its members and their work.;Chapter Three offers an in-depth analysis of Blitzstein's The Cradle Will Rock, specifically exploring issues of historiography, style, influence, and musical interpretation of political ideology and policy. It posits that, rather than experiencing a complete musical rebirth, as is often claimed, Blitzstein's Cradle channeled his personal musical language---as exhibited in his early works---into a stylistic frame consistent with, and acceptable to, the political trends of the Popular Front period.;Chapter Four explores the political and aesthetic fractures that occurred during the Cold War, and the various manifestations of political music that resulted. It discusses the music of Cornelius Cardew, Frederic Rzewski, Aaron Copland, Luigi Nono, Christian Wolff and Louis Andriessen in relation to their guiding ideologies: Maoism, Anarchism, Democratic Socialism, Humanist Realism and Communism. It also discusses the role of the U.S. Government---through its use of funding---to control the ideological content and political use of American art during the Cold War.;The final Chapter explores trends in political music since 1989. Looking at the writings of Naomi Klein, Michael Walzer, Thomas Frank, Hakim Bey and Bob Ostertag, it proposes a new model for musico-political engagement. I call this model "critical music," and define it as that which doesn't try to win a political battle, but rather to observe, illuminate and/or critique aspects of society, thereby enabling a potential transformative process. I conclude with a personal note, and a reaffirmation that above all, the quality of the music must never suffer.