摘要：My introduction to music and politics originated from a pedagogical need: I was scheduled to teach a class at the UC Center in Washington, D.C., and my colleague at the time, Michael Beckerman, suggested, “How about Music and Politics?” I liked the idea, and since I envisioned some sort of historical survey, I consulted with other colleagues (Robert Freeman and Alejandro Planchart) to learn the most burning issues in music and politics in their areas of historical expertise. We quickly arrived at the following topics:
