The beginning of our theory master list

Excellent work today! Your leaning into the theory readings paid off for us all in a generative discussion and the production of the beginnings of criteria for our object of study — a list of what a protest song is and what it does.

What follows is a textual round-up of today's in-class theoretical mashup, as well as my hasty photos of what you all contributed to the board ...

What a protest/propaganda song is ...
Phrases from the class:

• "an object of repetitive consumption"
• "a structure (a text/sound/object)"
• "a statement" — social? individual?
• "a platform" — for a group? individual?
• "a proposition"
• "a point of view"

What a protest/propaganda song does ...
Mentioned in class: a protest song makes people do something, or at least gives them reason to act
(File that away, we will come back to it often...)

Inside/outside the social group:
Strengthens ideological support inside the social movement

• Criteria #2 (Denisoff 1966, 582)
• “sense of mission” provided to group (Eyerman & Jamison 1995, 458)
• “collective identity formation” (Eyerman & Jamison 1995, 459)
• generates empathy, social identity theory (Harwood 2017, 4, 9+)

Strengthens morale and identity inside the social movement

• Criteria #3 (Denisoff 1966, 582)
• “some type of group interaction or cohesion must be present for the transfer of sociopolitical sentiment” (Denisoff & Levine 1971, 118)
• Canon created by the social movement served as its literature (Eyerman & Jamison 1995, 454, 458)

Solicits ideological support outside the social movement

• Criteria #1 (Denisoff 1966, 582)

Recruits outside members to join the social movement

• Criteria #4 (Denisoff 1966, 582)

Adds to the overall culture

• (Eyerman & Jamison)

Weaponizes culture to attack outsiders

• inciting intergroup hostility, critique of outgroup values (Harwood 2017, 15)

Specific topical issues:
Communicates the identification of a problem(s) in society

• Criteria #6 (Denisoff 1966, 582)
• Dylan’s “finger-pointing songs” (Eyerman & Jamison 1995, 461)

Communicates specific solutions to a social problem

• Criteria #5 (Denisoff 1966, 582)

Intergroup comm:
Communicates general position on social issue(s)

• Articulates the group's platform — for both group cohesion and performance to oursiders (Eyerman & Jamison, ??)
• ’60s folk “songs were not ideological in any dogmatic way, they dealt with universal themes … without presenting any specific political line or strategic action” (Eyerman & Jamison 1995, 459)

Motivates people to action based on issue identification and solution proposal

• For communication to be effective, it must motivate action, i.e. Lazarsfeld & Merton’s “supplementation” (Denisoff & Levine 1971, 118)

This is a great start! Now, two things ...
1. Does your list have or did your group discuss factors that are not represented here? Tell us in the comments, and I will amend.
2. Keep this list handy. We will begin referring back to it as we go, as we consider historical eras and listen to their situated music. This list isn't finished — we will find other things to add, hear from other writers and theorists who challenge and amend these basics, and ideally will craft some unique theory as to how music operates within certain situations today.