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dictatorship of General Franco created an institutional framework in order to instrumentalize flamenco, thereby putting it at the service of Spain’s international agenda. We intend to show the motiva- tions, mechanisms, and some of the initiatives through which the dictatorship seized the cultural wealth of flamenco and its international acclaim, and incorpo- rated it into its foreign propaganda. Our approach intends to go beyond contribu- tions of flamencology and cultural studies, which have underlined the political and identity links between flamenco and the Franco

. The political liberty and freedom of expression enjoyed by those of us who live and work in the West are not perfect. But they are a lot better than the authoritarian alternative. There was a time, half a century ago, when American popular music was seen as a beacon of political liberty and free speech and expression. As such, it played an important role in making liberal democracy attractive to millions of people living under fascist or communist domination. That time spanned World War II and the Cold War, and while the story was never a simple morality

“illumination.” This kind of aesthetic approach seems to fit the repertoire of classical music by German composers while contradicting the alignment of German hip-hop with the concept of cultural, ethnic, and racial otherness of the Turkish-German popula- tion (Diessel; Ickstadt). Thus, how can diplomatic and cultural institutions integrate (politically motivated) rap and hip-hop into an art diplomacy that ensures personal experiences through “the kind of unique moments that make our lives worth living” (Brown 59)? In what follows I will analyze Hennion’s sociological

Architecture. OASE Tijdschrift voor Architectuur/ Architectural Journal 78, (hg. mit Pnina Avidar und Raviv Ganchrow); MARA MILLS ist Assistant Professor für Media, Culture, and Communi- Jam: From Inscription to Reproduction to Information«, in: Social Text 102 (2010); »Do Signals Have Politics? Inscribing Abilities in Cochlear Handbook, Oxford (in Vorbereitung). 265 ELISABETH SCHIMANA ist Komponistin und leitet IMA Institut für Me- dienarchäologie. Ausgewählte Arbeiten: (Hg.): Zauberhafte Klangma- Synthesizer, 2009. ANDREI SMIRNOV ist interdisziplinärer Künstler und

the duo Marios & Julie. More explicitly from the Balkans was the music played by the Wiener Tschuschenkapelle. »Tschusch« is a pejorative designation of immigrants from South-Eastern Eu- rope, which the band used ironically to make a political statement against xenophobia. The band was founded in 1989 by Slavko Ninić, who studied languages and sociology in Vienna and Zagreb. All three acts, still active today, had strong ties to the local folk music scene from the beginning and cooperated with each other several times. They also framed their music in a

was a perfect tool for peaceful ways of communication and cultural exchange. By receiving the cross-border signals and programmes, listeners had the opportunity on the one hand to obtain transnational information and to avoid national media and news monopolies. At the same time, radio producers could use their medium to portray and transmit the political attitude of the broadcasting country or its agreement with a certain ideology or approval of one of the two blocs: i.e. inter- national radio stations as instruments of propaganda. «As such, broadcast technol

radio network from 1919. Following the establishment of the licensing system and regular programming after 1923, Bredow maintained the assertion that radio should be a public trust that would be above party politics. He also pursued a bourgeois concept of radio in terms of cultural and educational improvement (Bildung- sideal).23 This concept was influenced by broadcast radio’s emergence at the height of inflation and Bredow joined in articulating widespread fears about the urban masses, citing radio as a domestic medium that would help to unite families and keep

performer figures in the theatri- cal, political and religious cultural domains. Paradoxically, the production of these texts with their interest in the public female voice coincides with the pe- riod in which women in bourgeois culture are largely relegated and restricted to the private sphere. Interestingly enough, however, this is also the moment 1 | Examples include the genius improviser Corinne in Germaine de Staël’s Corinne, ou l’Italie (1807), the feminist speakers Zenobia in Nathaniel Hawthorne’s The Blithedale Ro­ mance (1852) and Verena Tarrant in Henry

to provide an analytical model to reconcile the structural analysis of modal harmony with the study of its meanings in the context of the Spanish transition to democracy (1975-1982), through the study of aeolian and phry- gian patterns of harmony in the so-called rock andaluz (Andalusian rock) as musical representations of modernity and traditional values respectively. The rise of regionalism in different areas against centralization had a strong influence in culture and politics in the late Seventies. Sebastián Bal- four and Alejandro Quiroga (2007: 45) use

Recht/MIR Der ausübende Musiker im Recht Deutschlands und der USA ZUM Der Wert der Musik. Die Ästhetik des Populären North Carolina Law Review Handbuch Ausstellungstheorie und -praxis Readings in Political Philosophy. Theory and Applications Paternalism. Theory and Practice Albany Law Journal of Sci- ence & Technology Cybersounds. Essays on Virtual Music Culture The Columbia Journal of Law & the Arts Encyclopaedia of Postmodern- ism Der Beatles Sound. Die Fab Four und ihre Instrumente – auf der Bühne und im Studio Unofficial Release. Self-Released and Handmade