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Music, Affect and Memory Politics in Post-Yugoslav Space 1 ANA HOFMAN In the Slovenian newspaper Delo on June 7, during the second festival of post-Yugoslav activist choirs2, Zdenko Matoz quotes Gregor Tomc, a soci- ologist and member of the Yugoslav punk band Pankrti, as saying that choral singing is, in any case, outdated. It is neither cultural resistance nor political radicalism. Newly founded post- Yugoslav choirs, he goes on, bring nothing new, unexpected, or disturbing: »their activities are pure nostalgic escapism, which is itself bearable

Turbo-folk as "Bad Music" - Politics of Musical Valuing SRDAN ATANASOVSKI Concurring with the Sirnon Firth's broad premise that "there is no suchthing [Herv. i. 0.] as bad music" and that "music only becomes bad music in an evaluative context, as a part of an argument"J, I will try to analyse the critical academic discourse on turbo-folk (a genre of popular folk music that emerged in Serbia in the early 1990's), which has evolved around the issue of discrediting this musical genre, reaching its peak of controversy during the late 90's, as a social

The Ethics and Politics of Empathy in US Hip-Hop Diplomacy The Case of the Next Level Program Kendra Salois In the mid-2000s, the US State Department revised its historic musical diploma- cy strategies, sending more genres abroad, linking to existing exchange pro- grams, and increasing opportunities for musical interaction. The newest initia- tive, named Next Level, conducts workshops in the hip-hop arts for beginners and professionals alike while refining its domestic and foreign audiences. Unlike the mid-twentieth century “Jazz Ambassadors,” Next

Popular Musicking and the Politics of Spectatorship at the United Nations James R. Ball III What is the place of the emotions in music? . . . [One view] holds that music is concerned with the “communication” or the “expression” or the “representation” of emotions . . . Common sense leads me to ask why people should devote so much of their lives and resources to the commu- nication of emotions . . . and why, for that mat- ter, listeners should be interested in having them communicated to them. After all, we all have plenty of emotions of our own

Noise und die Akustik des Politischen
Transnational and Transdisciplinary Perspectives
Kulturwissenschaftliche Perspektiven
Dresdner Musiker zwischen Kulturpolitik und internationalem Musikmarkt, 1945-1961