Music can be coopted for political purposes the original artist did not intend.

When music is used by a political campaign, the campaign manager always commissions new works.

Political actors never use preexisting music.

When music is used to combat a dominant political force, it most often takes the form of a:

Protest music that is overt in its meaning might clearly identify the objectionable situation and desired action.

Protest music that is covert broadcasts its message in a way that all listeners will understand.

Music has been used for political purposes worldwide to:

Music as a means of rallying support has a long history in American politics.

Before the rise of mass media, music was employed at in-person political events such as rallies, parades, and whistle stops.

Contexts in which one might hear campaign music today include:

When music is heard in the background of a television ad, the technique is termed:

Which of the following candidates were musicians themselves and played during their campaigns?

In the 19th century, most campaign songs were parodies in which old words were set to new music.

Parodies first played a role in George Washington’s 1792 reelection campaign.

The popularity of this parody song was credited with winning Harrison the presidency:

In the 20th century, candidates have been most likely to:

Herbert Hoover was the first presidential candidate to coopt a popular song.

“Happy Days Are Here Again” was played at the 1956 Democratic National Convention.

“Happy Days Are Here Again” is an example of a:

The term “Tin Pan Alley” refers to the American song publishing industry between the 1890s and the 1940s.

The name “Tin Pan Alley” was derived from the fact that clanging metal pans were to be heard in the district where the music publishing firms had their headquarters.

A 1930 recording of “Happy Days Are Here Again” featured popular singer Annette Hanshaw with Ben Selvin and his orchestra.

It was a common practice for recording artists to use pseudonyms because doing so allowed them to triple or quadruple their income by recording with a variety of labels.

Annette Hanshaw was a popular singer whose career was driven by which type(s) of performances?

Ben Selvin recorded about 40,000 tunes, making him the most productive recording artist in American history.

Paul Simon’s “Bridge Over Troubled Water” became the campaign song for which candidate?

As a campaign song, “Bridge Over Troubled Water” was used to convey an anti-war message and promise peace to the nation.

McGovern ran on promises of victory at war.

Paul Simon and Art Garfunkel were two of the biggest stars in American popular music in 1969 and were at the forefront of heavy metal rock music.

Paul Simon was the lead songwriter of Simon and Garfunkel.

“Bridge Over Troubled Water” was inspired by a line from a 1958 African American Gospel song by a group called the:

“Bridge Over Troubled Water” spent six weeks as the top single in 1972, a fact that benefited the McGovern campaign.

“Bridge Over Troubled Water” sent a strong campaign message for McGovern, whose candidacy followed which turbulent event?

Simon and Garfunkel reunited to perform at a benefit concert for McGovern, which was held at:

McGovern capitalized on the fact that he had reunited Simon and Garfunkel, but ultimately lost the election to Richard Nixon.

“I Won’t Back Down” was the lead single from Full Moon Fever, the first solo album by:

The 1989 hit “I Won’t Back Down” has been used in more than one campaign.

Tom Petty issued cease-and-desist letters when these candidates used his songs at campaign events:

In response to the Rodney King riots, Petty wrote a politically charged song titled:

Tom Petty’s popularity grew after a string of albums that he recorded between 1976 and 1987 with this band:

Carl Orff’s (1895–1982) Carmina Burana was the first piece of classical music ever to be put to political use.

In 1940, the Nazis began performing Carmina Burana at political rallies.

Carl Orff believed in the Nazi agenda and intended Carmina Burana for political purposes.

Carl Orff never expressed political views and was not a member of the Nazi party.

Carl Orff permitted the Nazis to use his music and actually wrote music on their behalf out of fear for his life.

Orff’s contributions as a composer and music educator include which of the following? Select all that apply.

Orff referred to the combination of music, dance, poetry, image, design, and theatre as:

Orff described Carmina Burana as a(n):

“Carmina Burana” is Latin for “Songs from Benediktbeuern” and refers to a volume of poems written primarily in the 14th and 15th centuries by goliards.

Goliards have been compared to carousing college dropouts.

Goliards were educated young men who had abandoned the religious life and wrote satirical poetry.

The text of Orff’s Carmina Burana comes from a medieval goliard manuscript that discusses things that might be of interest to young men who enjoy having a good time.

In Carmina Burana, Orff divides twenty-three poems into scenes about fate, springtime, drinking and love.

The first and last scenes of Carmina Burana consider Fortune and God.

Compositional techniques employed by Orff in Carmina Burana include

Orff wrote Carmina Burana for: Select all that apply.

Orff’s inspiration for Carmina Burana stemmed from this work:

Orff intended for Carmina Burana to be staged and it is always presented in that manner.

“It is the Time of Joy” and “Sweetest of Men” are two selections from a scene titled “Court of Love,” and they are quite racy, addressing love and lust.

Herbert Gerigk objected to Carmina Burana on the basis that it:

Protest songs are most often participatory, in that the protestors voice concerns in a participatory context.

Florence Reece’s song “Which Side Are You On?” was rooted in her own experiences as part of a coal mining family.

During the 1930s, mine workers had few options because:

Reece’s song was inspired by an event in which the sheriff and his men ransacked her home in front her seven children while pursuing her husband Sam.

Reece set the text of “Which Side Are You On?” to a pre-existing Baptist Hymn melody titled:

“Which Side Are You On?” was popularized in 1941 by the Atlantic Singers.

Reece’s song was used in 1973 when the Harlan County miners again went on strike for improved working conditions and decent wages.

During the 1960s, many musicians produced protest songs as part of the:

Bob Dylan was a leading figure in the rock revolution.

The 1963 album The Freewheelin’ Bob Dylan contained a number of songs on political topics.

Dylan intended “Blowin’ in the Wind” to be a protest song when he wrote it.

The three stanzas of “Blowin’ in the Wind” can be connected to the civil rights movement and the Vietnam War.

The melody of “Blowin’ in the Wind” is an adaptation of a spiritual titled:

Bob Dylan’s recording of “Blowin’ in the Wind” was more successful than the recording made by Peter, Paul and Mary.

All of the following characteristics are typical of Reggae songs except a(n):

Reggae, like the music of the folk revival, often addresses social and political issues.

The style of Reggae emerged in Jamaica in 1968 and was influenced exclusively by American folk and rock music.

The roots of Reggae stem from the Jamaican genres of ska and rocksteady.

Reggae is closely associated with this belief system of:

Rastafarian ideology pervades the verses of Marley and Tosh’s song, “Get Up, Stand Up.”

Rastafarianism can trace its roots to the “Back to Africa” movement of the 1920s, led by Marcus Garvey.

Followers of Rastafarianism:

In “Get Up, Stand Up,” the “preacher man” symbolizes the institutionalized Christian church.

In “Get Up, Stand Up,” the line “almighty Jah is a living man” refers to the coming of the Messiah, for which Rastafarians still wait.

The simple and repetitive refrain of “Get Up, Stand Up” acts as a general call to action, although the song responded to the suffering of impoverished Haitians in the 1970s.

Marley wrote “Get Up, Stand Up” after he toured the island of Haiti in the early 1970s.

In 1929, Stalin sought to control the arts by:

In 1932, Stalin created the Union of Soviet Composers. This allowed him to control what music was heard because:

Because Dmitri Shostakovich’s Symphony No. 5 is an expression of protest, it is an example of program music:

The doctrine of Socialist Realism required composers to

Music that was condemned as “formalist” by Stalin’s regime had the following trait(s):

Symphony No. 5 was presented as an autobiographical piece portraying Shostakovich’s personal suffering and rebirth. It served as a public apology and facilitated his formal rehabilitation.

Shostakovich was a leading Soviet composer, but his opera Lady Macbeth was a flop when it premiered in 1934.

Following its premiere, Dmitri Shostakovich’s Symphony No. 5 was criticized on the grounds that: