Music, hegemony and revolutionary violence
Résumé
In a recent article published in Music & Politics, I examined the relationship between music, hegemony and violence in the political thought of the Italian composer Luigi Nono (1924-1990).1 I analysed in particular his interpretation of Antonio Gramsci ideas and how he addressed his political and ethical commitment in Für Paul Dessau, a seven-minute piece composed in 1974 at the Studio di Fonologia of the Milano RAI.2 I argued that this work for solo tape responded in an original way to the concrete issue of the politicisation of music during the Cold War. It connected causes, identified common adversaries, and indicated objectives to be achieved.
