Pub Date : 2023-02-01DOI: 10.1017/S1478572222000457
Igor Contreras Zubillaga
Abstract This article examines how musical practices in 1970s Spain formed ways of imagining democracy and how they participated in the wider social struggle to define freedom and equality for the final years of Franco's dictatorship and its immediate aftermath. I shall analyse two case studies: a large-scale experimental art festival held in the streets of Pamplona in 1972 and a grassroots musical collective created in 1973 on the initiative of the composer Llorenç Barber. Drawing on previous studies on the relationship between music and democracy, participatory art and the politics of spectatorship, and the insights of political science and philosophy into democracy, I offer a critical reassessment of the Pamplona festival and explore the relationship between grassroots collaboration and ideas of participatory democracy, and analyse the significance of this relationship in 1970s Spain.
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000470
JUNG-MIN Mina Lee
Abstract During South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.
{"title":"Minjung Kayo: Imagining Democracy through Song in South Korea","authors":"JUNG-MIN Mina Lee","doi":"10.1017/S1478572222000470","DOIUrl":"https://doi.org/10.1017/S1478572222000470","url":null,"abstract":"Abstract During South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"49 - 69"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48123621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/S1478572222000469
E. Kelly
Abstract The opening of the Berlin Wall in November 1989 provided a spectacular climax for Samuel Huntington's third wave of democracy. It represented the triumph not only of a people over their oppressive regime but also, ultimately, of Western economic liberalism; the post-socialist democracy of German reunification was a singular one with consumerism at its core. In the early 1990s, many East German reform socialists resisted this inevitability, and exploited the temporary political and bureaucratic void that emerged in East Berlin as a space in which to imagine alternative democratic futures from the socialist past. In this article I explore the attempts by two very different East Berlin musical communities to incubate anti-capitalist worlds from the legacies – both official and unofficial – of the German Democratic Republic (GDR). First, I reflect on the autonomous musical worlds that were created by members of the GDR's alternative bands in occupied buildings in Prenzlauer Berg and Mitte. Second, I consider the articulation by the ZwischenWelt-Festival, a reincarnation of the GDR's Festival of Political Song, of a more outward-looking future for East Germany, based on the ideals of international solidarity.
{"title":"Autonomous and Between Worlds: Musical Manifestos for Anti-Capitalist Futures in Post-Wall East Berlin","authors":"E. Kelly","doi":"10.1017/S1478572222000469","DOIUrl":"https://doi.org/10.1017/S1478572222000469","url":null,"abstract":"Abstract The opening of the Berlin Wall in November 1989 provided a spectacular climax for Samuel Huntington's third wave of democracy. It represented the triumph not only of a people over their oppressive regime but also, ultimately, of Western economic liberalism; the post-socialist democracy of German reunification was a singular one with consumerism at its core. In the early 1990s, many East German reform socialists resisted this inevitability, and exploited the temporary political and bureaucratic void that emerged in East Berlin as a space in which to imagine alternative democratic futures from the socialist past. In this article I explore the attempts by two very different East Berlin musical communities to incubate anti-capitalist worlds from the legacies – both official and unofficial – of the German Democratic Republic (GDR). First, I reflect on the autonomous musical worlds that were created by members of the GDR's alternative bands in occupied buildings in Prenzlauer Berg and Mitte. Second, I consider the articulation by the ZwischenWelt-Festival, a reincarnation of the GDR's Festival of Political Song, of a more outward-looking future for East Germany, based on the ideals of international solidarity.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"70 - 89"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43227775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/S1478572222000408
Lauren Istvandity
Social media has substantially altered the way communication is carried out within and beyond creative arts scenes. And yet, the impact of social media communication on the process of meaning-making and organization for artforms has received limited critical attention, despite social media dominating the organization, distribution, and promotional facets of creative practice for around ten years at the time of writing. Ellis Jones’s volume is a significant contribution in filling this void, via a thorough examination of the relationship between do-it-yourself (DIY) music scenes and social media. Herein, Jones situates DIY music not in relation to specific genres, but to activities relating to the ‘democratization of culture’, noting also the changing perception of DIY from a niche subculture to its current status as ‘mainstream’ (1–2). Certainly, there is already a great deal of existing writing celebrating and debating DIY culture and music scenes broadly; equally so, the surge in cultural research on social media in the past five to ten years gives Jones much intellectual material on which to draw new arguments. But Jones carries out significant work here in terms of connecting both these dual research areas and the activities in question, engaging deeply with both artistic DIY and social media practice, and carefully traversing the uneasy grounds of each. While we might take for granted the affordances of social media for general use, there is much to unpick about the social nature of DIY music practices and how these play out on social media. Bringing these concepts to life are Jones’s ethnographic case study interviews. Choosing to draw on a single indie-punk DIY scene in Leeds, UK, Jones engages artists in in-depth conversations about how their scene operates within and alongside social media platforms. Jones describes Leeds, the location for this research, as having historical significance given the community’s involvement in post-punk scenes in the 1970s and 1980s (11–12), and as such, aspects of ‘place’ were influential in understanding the current scene via these interviews.
{"title":"Ellis Jones, DIY Music and the Politics of Social Media (London and New York: Bloomsbury Publishing, 2021), ISBN: 978-1-5013-5964-4 (hb), 978-1-5013-5963-7 (pb).","authors":"Lauren Istvandity","doi":"10.1017/S1478572222000408","DOIUrl":"https://doi.org/10.1017/S1478572222000408","url":null,"abstract":"Social media has substantially altered the way communication is carried out within and beyond creative arts scenes. And yet, the impact of social media communication on the process of meaning-making and organization for artforms has received limited critical attention, despite social media dominating the organization, distribution, and promotional facets of creative practice for around ten years at the time of writing. Ellis Jones’s volume is a significant contribution in filling this void, via a thorough examination of the relationship between do-it-yourself (DIY) music scenes and social media. Herein, Jones situates DIY music not in relation to specific genres, but to activities relating to the ‘democratization of culture’, noting also the changing perception of DIY from a niche subculture to its current status as ‘mainstream’ (1–2). Certainly, there is already a great deal of existing writing celebrating and debating DIY culture and music scenes broadly; equally so, the surge in cultural research on social media in the past five to ten years gives Jones much intellectual material on which to draw new arguments. But Jones carries out significant work here in terms of connecting both these dual research areas and the activities in question, engaging deeply with both artistic DIY and social media practice, and carefully traversing the uneasy grounds of each. While we might take for granted the affordances of social media for general use, there is much to unpick about the social nature of DIY music practices and how these play out on social media. Bringing these concepts to life are Jones’s ethnographic case study interviews. Choosing to draw on a single indie-punk DIY scene in Leeds, UK, Jones engages artists in in-depth conversations about how their scene operates within and alongside social media platforms. Jones describes Leeds, the location for this research, as having historical significance given the community’s involvement in post-punk scenes in the 1970s and 1980s (11–12), and as such, aspects of ‘place’ were influential in understanding the current scene via these interviews.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"132 - 134"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43960734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/S1478572222000445
R. Adlington, Igor Contreras Zubillaga
The so-called ‘third wave of democratisation’, commencing with Portugal’s Carnation Revolution in 1974 and extending to the collapse of the Soviet Bloc in the 1990s, was widely received as marking an inevitable process towards liberty, even (to use the resonant prediction of Frances Fukuyama) ‘the end of history’. Yet historical research has more recently demonstrated that the processes of transition from authoritarianism undergone by countries around the world was troubled and incomplete, and marked by sharp conflicts over what democracy was to look like. In this, they reflected Pierre Rosanvallon’s diagnosis of democracy as representing both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’. As we prepared this issue for submission to Twentieth-Century Music, Russia – once brandished as the crown jewel within this third wave of democratization – embarked upon an unprovoked military invasion of a neighbouring country and a repressive domestic crack-down on independent media and free speech, confirming a democratic collapse that is now widely regarded as two decades in the making. There could be no clearer symbol of the risks that accompany processes of democratization, and the tendency for new democracies (and indeed old ones that were once new) to retain imbalances of power from previous political arrangements. As political science has shown, democracy is an inherently contestable category. History evidencesmany different ways of imagining ‘rule by the people’, and any particular realization of core democratic principles carries costs as well as benefits, and reflects some interests in preference to others. This contestability is especially apparent in the political context of the transition to democracy after an authoritarian regime, often giving rise to a pronounced struggle between different ideas and practices of democracy. Reflecting this, our special issue of Twentieth-Century Music examines how musical practices in different national contexts formed ways of imagining democracy, and how these practices participated in the wider social struggle to define freedom and equality in the late twentieth century. Taking as a historical premise Samuel Huntington’s notion of the ‘third wave of democratisation’, the issue explores case studies from Greece, Spain, the German Democratic Republic, South Korea, South Africa, and Chile. How did musical practices instantiate ideas of democracy in these contexts? Inversely, how did different ideas of democracy inform musical practice? How
{"title":"Introduction to the Special Issue on Music and Democratic Transition","authors":"R. Adlington, Igor Contreras Zubillaga","doi":"10.1017/S1478572222000445","DOIUrl":"https://doi.org/10.1017/S1478572222000445","url":null,"abstract":"The so-called ‘third wave of democratisation’, commencing with Portugal’s Carnation Revolution in 1974 and extending to the collapse of the Soviet Bloc in the 1990s, was widely received as marking an inevitable process towards liberty, even (to use the resonant prediction of Frances Fukuyama) ‘the end of history’. Yet historical research has more recently demonstrated that the processes of transition from authoritarianism undergone by countries around the world was troubled and incomplete, and marked by sharp conflicts over what democracy was to look like. In this, they reflected Pierre Rosanvallon’s diagnosis of democracy as representing both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’. As we prepared this issue for submission to Twentieth-Century Music, Russia – once brandished as the crown jewel within this third wave of democratization – embarked upon an unprovoked military invasion of a neighbouring country and a repressive domestic crack-down on independent media and free speech, confirming a democratic collapse that is now widely regarded as two decades in the making. There could be no clearer symbol of the risks that accompany processes of democratization, and the tendency for new democracies (and indeed old ones that were once new) to retain imbalances of power from previous political arrangements. As political science has shown, democracy is an inherently contestable category. History evidencesmany different ways of imagining ‘rule by the people’, and any particular realization of core democratic principles carries costs as well as benefits, and reflects some interests in preference to others. This contestability is especially apparent in the political context of the transition to democracy after an authoritarian regime, often giving rise to a pronounced struggle between different ideas and practices of democracy. Reflecting this, our special issue of Twentieth-Century Music examines how musical practices in different national contexts formed ways of imagining democracy, and how these practices participated in the wider social struggle to define freedom and equality in the late twentieth century. Taking as a historical premise Samuel Huntington’s notion of the ‘third wave of democratisation’, the issue explores case studies from Greece, Spain, the German Democratic Republic, South Korea, South Africa, and Chile. How did musical practices instantiate ideas of democracy in these contexts? Inversely, how did different ideas of democracy inform musical practice? How","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"2 - 5"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43631887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/S1478572222000500
J. Pistorius
Abstract In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African political order. Situating the production within the context of contemporaneous debates about cultural identity and representation in a democratic South Africa, I argue that Fidelio on Robben Island performed a legitimizing function designed to endorse the validity of the state and of opera as a democratic cultural form.
2004年，开普敦歌剧院在罗本岛前种族隔离监狱上演了贝多芬的《费德里奥》。该剧由挪威歌剧院(Den Norske Opera)赞助，并得到南非政府的认可，是为了庆祝南非民主10周年。本文探讨费德里奥在罗本岛推行的民主愿景，并探讨它如何与南非新政治秩序的基本原则相互作用。将这部作品置于民主南非的文化认同和表现的同时代辩论的背景下，我认为《罗本岛上的费德里奥》发挥了一种合法化的功能，旨在认可国家和歌剧作为民主文化形式的有效性。
{"title":"A Modern-Day Florestan: Fidelio on Robben Island and South Africa's Early Democratic Project","authors":"J. Pistorius","doi":"10.1017/S1478572222000500","DOIUrl":"https://doi.org/10.1017/S1478572222000500","url":null,"abstract":"Abstract In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African political order. Situating the production within the context of contemporaneous debates about cultural identity and representation in a democratic South Africa, I argue that Fidelio on Robben Island performed a legitimizing function designed to endorse the validity of the state and of opera as a democratic cultural form.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"107 - 125"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46184183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/S1478572222000494
Daniel Party
Abstract This article is a study of Chilean popular music produced during the 1990s, the first decade following the end of the Pinochet dictatorship. The return of democracy and a period of strong economic growth contributed to a boom in the Chilean music industry. A wealth of music was recorded and the opportunities for listening to live music multiplied. The article's main objectives are to illuminate the ways in which Chilean popular music addressed democracy's inspiring promises and frustrating limits and to consider how Chileans used popular music to foster new post-authoritarian identities. First, it argues that music was used to reclaim national symbols that had been coopted by the dictatorship. Second, it considers the music of two generations of musicians who returned to the country after living in exile. Finally, it focuses on punk and hip-hop, the styles that produced the most significant examples of protest music in the post-authoritarian period.
{"title":"Rethinking Post-Authoritarian Chile through Its Popular Music","authors":"Daniel Party","doi":"10.1017/S1478572222000494","DOIUrl":"https://doi.org/10.1017/S1478572222000494","url":null,"abstract":"Abstract This article is a study of Chilean popular music produced during the 1990s, the first decade following the end of the Pinochet dictatorship. The return of democracy and a period of strong economic growth contributed to a boom in the Chilean music industry. A wealth of music was recorded and the opportunities for listening to live music multiplied. The article's main objectives are to illuminate the ways in which Chilean popular music addressed democracy's inspiring promises and frustrating limits and to consider how Chileans used popular music to foster new post-authoritarian identities. First, it argues that music was used to reclaim national symbols that had been coopted by the dictatorship. Second, it considers the music of two generations of musicians who returned to the country after living in exile. Finally, it focuses on punk and hip-hop, the styles that produced the most significant examples of protest music in the post-authoritarian period.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"90 - 106"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41630312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1017/S1478572222000251
Kate Galloway
Abstract This article explores the strategies employed by user-creators as they listen to, sense, make, and share digital audiovisual memes of musicking non-human animals on social media. Memes, reels, and other forms of audiovisual social media posts are a form of cultural expression that reveals the varied ways humans relate to, connect with, and represent non-human animals – especially their pets – through sound, music, and the moving image. By listening to the plurality of musicking animals circulating on social media platforms and networks, I argue that user-creators conspicuously use music and performance to express alternative ideas of what it means to be musical, to feel closer to and connect with the important animals in their lives, and to explore the ways they can represent non-human animals using sound and music to explore musical concepts. Using a varied selection of viral musicking animal memes shared across social media platforms such as TikTok, Instagram, and Twitter, I frame musicking animal participatory media as a creative space for exploring different approaches to listening, performing with, and scoring sound and music to the behaviour, movement, and acoustic communication of the non-human animal. Non-human animal musicking takes a variety of forms across this particular kind of participatory media making by online user-creators.
{"title":"Sensing, Sharing, and Listening to Musicking Animals across the Sonic Environments of Social Media","authors":"Kate Galloway","doi":"10.1017/S1478572222000251","DOIUrl":"https://doi.org/10.1017/S1478572222000251","url":null,"abstract":"Abstract This article explores the strategies employed by user-creators as they listen to, sense, make, and share digital audiovisual memes of musicking non-human animals on social media. Memes, reels, and other forms of audiovisual social media posts are a form of cultural expression that reveals the varied ways humans relate to, connect with, and represent non-human animals – especially their pets – through sound, music, and the moving image. By listening to the plurality of musicking animals circulating on social media platforms and networks, I argue that user-creators conspicuously use music and performance to express alternative ideas of what it means to be musical, to feel closer to and connect with the important animals in their lives, and to explore the ways they can represent non-human animals using sound and music to explore musical concepts. Using a varied selection of viral musicking animal memes shared across social media platforms such as TikTok, Instagram, and Twitter, I frame musicking animal participatory media as a creative space for exploring different approaches to listening, performing with, and scoring sound and music to the behaviour, movement, and acoustic communication of the non-human animal. Non-human animal musicking takes a variety of forms across this particular kind of participatory media making by online user-creators.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"369 - 392"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41840115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1017/S1478572222000275
Byrd Mcdaniel
Abstract Music podcasts have proliferated as public discourse about popular music. A significant part of the expanding podcast industry, music podcasts include titles such as All Songs Considered, Switched on Pop, Song Exploder, Sound Opinions, New York Times Popcast, and Lost Notes. These podcasts often feature a combination of conversation and musical selections, which highlight aspects of the music for podcast listeners. In this article, I argue that we should think of music podcasts as persuasive demonstrations of music consumption. Music podcasts present music as a subject for discussion and also implicitly model listening techniques, convincing podcast listeners to adopt specific approaches to music recordings. I explore three podcasts: All Songs Considered, Switched on Pop, and Disability Visibility. I examine how these podcasts present music as their subject, while advancing particular theories of listening that can serve or subvert privileged modes of music reception.
音乐播客作为流行音乐的公共话语已经激增。音乐播客是不断扩大的播客行业的重要组成部分，包括《All Songs Considered》、《Switched on Pop》、《Song Exploder》、《Sound Opinions》、《New York Times Popcast》和《Lost Notes》等。这些播客通常结合了对话和音乐选择，为播客听众突出了音乐的各个方面。在这篇文章中，我认为我们应该把音乐播客看作是音乐消费的有说服力的展示。音乐播客将音乐作为一个讨论的主题，同时也隐含地模拟了听力技巧，说服播客听众采用特定的方法来录制音乐。我探索了三个播客:All Songs Considered、switch on Pop和Disability Visibility。我研究了这些播客是如何将音乐作为主题呈现的，同时推进了特定的聆听理论，这些理论可以服务于或颠覆音乐接受的特权模式。
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