Full text
Goehr, Lydia. Political music and the politics of music
1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.
Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.


Export citation in BibTeX format

Export text citation

View this text on PhilPapers

Export citation in Reference Manager format

Export citation in EndNote format

Export citation in Zotero format

Share on Facebook
Share on LinkedIn
Share by Email

Leave a Reply

Your email address will not be published. Required fields are marked *