This article proceeds from the assumption that the transition to socialism must take account of individuals as they are, not as they might be. The emphasis on the individual appears to be inconsistent with the marxian basis of socialist thought. Attempts to resolve this inconsistency have led marxists to concentrate on cultural and psychological explanations of people within capitalist society. We criticise these attempts, and argue for a view of the individual in society which recognises personal autonomy yet acknowledges the (...) role of structural forces in social change. Given this model, we then ask if there is any indication of individual changes within contemporary capitalism which promote the transition to socialism. In contrast to the pessimistic interpretations which dominate the literature, we argue that the present psychological and cultural states of individuals within capitalism can engender socialist change. (shrink)

This article explores the connection between politics and music; in particular it asks how music might be incorporated into accounts of political thought and action. Despite the fact that political science has tended to neglect the place of music in politics, there are a number of writers, such as Jean‐Jacques Rousseau, who have taken a different course. For them, music is intimately linked, via its aesthetics, to ethical judgements and to social order. The article develops these latter claims and connects (...) them to work of a similar kind in music studies to propose a framework which helps to make sense of, and give due weight to, the place of music – as organised sound – in political thought and action. Music, it is argued, should not be viewed just as a footnote to, or appendage of, political thought and action, but rather as an integral feature of them. (shrink)

How does music ‐ or any cultural artefact ‐ assume significance for those who encounter it? Why does one sound or image come to matter, while others are overlooked or forgotten? The answer is not to be found in the sounds alone, but in the context and conditions in which they are heard. This article explores this argument by considering the case of The Anthology of American Folk Music, a set of recordings from the 1920s and 1930s, which has exercised (...) an extraordinary power over popular music since its release in 1952. Using the arguments expounded by Robert Cantwell and Greil Marcus, and pointing to the uses of music in establishing national identities and mobilising social movements, the article argues for an understanding of music's significance that links social experience, aesthetic pleasure and political values. (shrink)