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Chapter 5 - Vocal Music as a Tool for Reconciliation between Previously Polarised Societies in South Africa

This Chapter identifies the necessity for understanding South African 20th century vocal music for the purpose of reconciling previously polarised societies. The songs are oral traditions that preserve a record of the past in a way that allows for empathy, reconciliation and an understanding of the experiential world of these societies. The chapter shows how links between music and history can inform and enrich each other and allow for South Africans of all races to be made aware of the fact that music is central to the very formation of human societies and as such cannot be ignored.

The chapter also shows how music rather than politics provided a real voice for black South Africans until the early 1990s because there were no other channels open to protest. The chapter thus recognises parallels, as expressed through song, between the experiences of black and white South African music and shows why music could become a powerful tool for reconciliation as well as allow for an appreciation of cultural diversity in South Africa.

Chapter 6 - We Shall Overcome: The Roles of Music in the U.S. Civil Rights Movement

The Music of the United States Civil Rights Movement is a comprehensive look at how music impacted a national grassroots movement. The music wasn’t a soundtrack to the Civil-Rights Movement but rather the heart and soul of those who dared to stand up for social justice. This chapter will examine the musical connection of the African Diaspora through the evolution of traditional African rhythms and songs through the role of gospel music and secret code found in the Negro Spirituals. The chapter will help the readers understand the music of the Civil-Rights Movement as it relates to social changes in the United States.

Chapter 7 - Music as a Discourse of Resistance: the Case of Gilad Atzmon

The saxophonist and clarinettist Gilad Atzmon is a vociferous anti-Zionist and a passionate defender of the Palestinians and their right to self-determination. Atzmon was born in Israel and served in the Israeli army whilst doing his military service. For over a decade now he has lived in London with his wife and two young children, and he is a famous jazz musician. So how does a chapter which looks at music as a form of resistance connect with the general theme of this book which is about music for peace? This begs the question, can there be a direct jump from war to peace without an intermediary stage of resistance and if so, resistance against what - the self, the other, political structures? Particularly in such a long and unequal conflict as the one between Israelis and Palestinians, how can someone resist through music? This chapter looks at how Atzmon goes about resisting the Zionist project through his music. The theoretical framework which informs this study is known as social constructionism.

Chapter 8 - Unpeaceful Music

Music can help to make the world a more peaceful place, but it has a dark side as well. There is music that celebrates war, viciousness, hate, and humiliation. Music has the power to heal, but it also has the power to hurt. Music is peaceful or unpeaceful not because of the inherent character of the music itself, but because of the way it is used.

Unpeaceful music may build fellowship among some people at the expense of others. For example, a racist ditty may send a message of fellowship to racists as it offends those who are victimized. When music is hurtful to some groups, it is unpeaceful. Music can contribute to peace, but that contribution is limited so long as it is held captive by those in power. However, there are openings, free spaces in which music can be used in a way that fulfills its potentials for peace.

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