Music, Sound, Politics

Abstract

This article reviews literature that followed from a political turn, starting in the 1980s, when new epistemological and disciplinary norms were established for articulating music and sound with politics. In an age of impotence, when neoliberal expansion led to pervasive political exhaustion, music and sound took on added potency as political forces in and of themselves. This wager rests on the presumption of music's capacity for politicization (its entry into and effect on the sphere of normative politics) under conditions of increasing depoliticization (the constraints placed on political participation). I have organized research on the politicization of music and sound into four primary categories: resistance and dissent, identity and recognition, affect and belonging, and power and dominance. The article concludes with recent wagers on music and sound to mitigate life's perils in the present and model “otherwise” possibilities for the future.