Musical Politics

It is very strange when people remove something from its context, however, I can see how a piece of music could be on the fence in terms of political correctness when it uses lyrics such as Lincoln's presidential addresses. In some cases, political readings seem almost welcomed by composers and artists. Artists can title works in a shocking way when the art itself really has no other sign of a political message. What this does is get people thinking politically, when really they could experience the piece as it was made and not politically charged. Perhaps the piece was made politically charged, in which case I'm ok with titles that bring it up. But politics for the sake of shock value are not smart. The extreme example would be punk music. As Marx and Engels point out, the message of punk music is definitely against corporate and governing classes. Strange that punk music caters itself to a younger audience than that of the working class, but as an example it illustrates the relationships adeptly. However, in this day and age we run into problems which punk also exemplifies. When listeners think of punk whenever they are asked, "what music is anti establishment?" this can be exploited. What was once anti-establishment and sub-culture is now being marketed by, well, an establishment. Now concerning the questions of the survey, I believe that music, without text, can convey political truths if the audience is open to it and/or is bringing political energy into the piece. Concert hall music with political texts are somewhat isolated. The minute you step into a concert hall and experience music, you have disconnected from the world wherein the political message lies. Much like a movie or art gallery experience. Again, if the audience is open to receiving the message, they will carry it back into the world with them. Composers have no responsibility to do anything for anybody. They make music, end of story. Sadly, who you get your money from definitely affects peoples' art. It should if you want it to or is important to the work and/or the cycle of corporate beneficiary thinking and art making. Therefore, it then goes against the idea that composers make music for the sake of making music and are now responsible for a certain turnaround in either their audience or their financial supporters. Other than that, where you get your money from should not affect your artistic practice, otherwise you have been put under establishment just as punk was.

Experimental music brings up political questions in different ways than pop music does. It is not that one brings up politics and the other does not, it is the idea that they are both addressing politics in either, different ways, or different hemispheres of thought. With the growing power of the internet, composers can capitalize on pop music communication while retaining their own style. The main point is that they are still making their music. They can distribute it any way they please as long as it is genuine. Pop music is a valid communicative vehicle, so is an instant message or an email, a gathering of people or a cab driver. If you are actively trying to communicate your music to others, there will eventually become a time where people learn that it is communicating to them just as pop music is if not more so and more passionately.