Political music

The connection between music and politics, particularly political expression in song, has been seen in many cultures. Although music influences political movements and rituals, it is not clear how or to what extent general audiences relate to music on a political level. Music can express anti-establishment or protest themes, including anti-war songs, but pro-establishment ideas are also represented, for example, in national anthems, patriotic songs, and political campaigns. Many of these types of songs could be described as topical songs.

Songs can be used to portray a specific political message. However, there may be barriers to the transmission of such messages; even overtly political songs are often shaped by and reference their contemporary political context, making an understanding of the history and events that inspired the music necessary in order to fully comprehend the message. The nature of that message can also be ambiguous because the label "political music" can be applied either to songs that merely observe political subjects, songs which offer a partisan opinion, or songs which go further and advocate for specific political action. Thus a distinction has been made, for example, between the use of music as a tool for raising awareness, and music as advocacy.

Furthermore, some forms of music may be deemed political by cultural association, irrespective of political content, as evidenced by the way Western pop/rock bands such as The Beatles were censored by the State in the Eastern Bloc in the 1960s and 1970s, while being embraced by younger people as symbolic of social change. This points to the possibilities for discrepancy between the political intentions of musicians (if any), and reception of their music by wider society. Conversely, there is the possibility of the meaning of deliberate political content being missed by its intended audience, reasons for which could include obscurity or delivery of message, or audience indifference or antipathy.

It is difficult to predict how audiences will respond to political music, in terms of aural or even visual cues. For example, Bleich and Zillmann found that "counter to expectations, highly rebellious students did not enjoy defiant rock videos more than did their less rebellious peers, nor did they consume more defiant rock music than did their peers", suggesting there may be little connection between behaviour and musical taste. Pedelty and Keefe argue that "It is not clear to what extent the political messages in and around music motivate fans, become a catalyst for discussion, [or] function aesthetically".

...
Wikipedia