In the first decade after the turn of the millennium, German writers on music coined the term ‘sound of the revolt’ in order to describe music considered to be closely connected with the student and protest movements of the 1960s and 70s. Although the term immediately appealed to readers and researchers on ‘1968’ and, therefore, became soon included in the general discourse, it is by no means obvious to which acoustic-auditive phenomenon or phenomena the expression refers. What is clear from the context in which the term has been used is that the ‘sound of the revolt’ refers to music, not just all kinds of sounds and noises, having occurred in the context of the social movements of this time period. However, which kind of pieces, bands and musical styles out of the vast spectrum of music which was composed and performed during the student and protest movements have speakers had in mind if they use(d) the term? What does ‘sound’ in ‘sound of the revolt’ mean: a sonic profile mainly defined by timbre (which is as such a highly complex phenomenon) or rather a multi-parametric acoustic-auditive configuration that continuously alters its shape in the minds of the listeners?
5.I.2Séance - Anthropology, Sociology, and Cultural Studies
Dr. Beate Kutschke is Wissenschaftliche Mitarbeiterin at the University Salzburg where she is leading a research project focusing on the computer-assisted analysis of the small rounded two/three-part form in early 18th-century music. In the past, she taught at national and international universities such as Harvard, the University of Hong Kong, the University of Arts in Berlin and the Technical University of Dresden. Previous research revolved around music and protest in 1968 (second monograph), Baroque music and the moral-ethical change around 1700 (third monograph), music semiotics and philosophy as well as music and heroism focusing on protest music and Holocaust music.
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