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- “Years in Prison”: Giuseppe Verdi and Censorship in Pre-Unification Italy
- Micronarratives of Music and (Self-)censorship in Socialist Yugoslavia
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- Pete Seeger’s Project
- Government Censorship and Aaron Copland’s <i>Lincoln Portrait</i> during the Second Red Scare
- “A Day in the Life”: The Beatles and the BBC, May 1967
- Composing in Black and White: Code-Switching in the Songs of Sam Lucas
- Exploring Transitions in Popular Music: Censorship from Apartheid to Post-Apartheid South Africa
- Rap Music and Rap Audiences Revisited: How Race Matters in the Perception of Rap Music
- Deaths and Silences: Coding and Defiance in Music about AIDS
- Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
- Veiled Voices: Music and Censorship in Post-Revolutionary Iran
Abstract and Keywords
This chapter explores the music censorship in “totalitarian,” “closed” socialist Yugoslavia, with particular emphasis on “editorial censorship” that involved constant conscious (self-)censorship on the part of authors. Using official (state and scholarly) narratives and media discourses as a framework, the chapter proposes more nuanced and dynamic interpretations of censorial practices in socialist societies that highlight the complexity of socialist music censorship. It considers changes in state cultural policy during the 1970s and their implications for censorship in Yugoslavia in the field of popular music production. Focusing on the “Law Against Šund [art trash],” the chapter examines how Yugoslav officials attempted to end “unregulated cultural politics” and growing nationalism in all fields by promoting an individualized, subjective approach to censorship without strict rules and institutional supervision. It also describes censorship after the break up of Yugoslavia, and especially the emergence of other ways of controlling cultural production in the post-socialist era.
Ana Hofmann is Senior Research Fellow and Assistant Professor at the Slovenian Academy of Sciences and Arts.
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