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Politics and Music
Test #1 (Make-up, Spring 2008)
Directions: If you missed the test for a reason that is acceptable to the College Office (or if you made pre-arrangements with me), you can take it as a take-home. It is open book and notes, and graded as a paper. Honor code applies, of course. Answer all questions, typed, approximately two pages per question, double-spaced. Put it in my mailbox in 327 Tarbutton (the main office). If you did not already make approved pre-arrangements with me for taking this exam as a take-home, include a cover sheet that has the reason why you needed to miss the exam, and a copy of any official document backing it up (such as a letter from the Health Center, coach of the Emory team you are on, etc.) Time: 24 hours after you begin the exam.
1. How did Verdi respond to the politics of his day when he wrote his operas? What was the role of censorship, and how was this done, with regard to Verdi? Give examples of some of his operas that can be interpreted in political ways, and explain the politics of these operas. Why were the ideas of these operas so sensitive in Verdi’s day. How is Verdi a nationalist composer, and when can his work lean more heavily in the patriotic direction?
2. As it pertains to Bob Marley's music, what is Rastafarianism? Within Rastafarianism, what is Babylon and the Babylon system? That is, describe Bob Marley's general Rastafarian philosophy that he portrayed in his music. If Bob Marley's music is a form of political identity music, with whom is it identifying? What is the purpose of Bob Marley's music, both politically and spiritually, and how are these two things (the political and the spiritual) linked? How do dreadlocks fit into all of this? Is Bob Marley's music relevant only for people of color? Why or why not?
3. Interpret the plot of Wagner's four "Ring" operas in political
terms. In what ways was Wagner's own political views reflected in these
operas?