Foreword, "Gage Averill" Introduction, "J. Martin Daughtry" Part One: American Music and the Mass Media After 9/11 1. Pop Goes to War, 2001--2004: U.S. Popular Music After 9/11 "Reebee Garofalo" 2. "America: A Tribute to Heroes": Music, Mourning, and the Unified American Community "Kip Pegley and Susan Fast" 3. The Sounds of American and Canadian Television News After 9/11: Entoning Horror and Grief, Fear and Anger "James Deaville" 4. Models of Charity and Spirit: Springsteen and 9/11 "Bryan Garman" 5. Double Voices of Musical Censorship after 9/11 "Martin Scherzinger" 6. "Have you forgotten?": Darryl Worley and the Musical Politics of Operation Iraqi Freedom "Peter Schmelz" 7. For alle Menschen? Classical Music and Remembrance After 9/11 "Peter Tregear" Part Two: A Polyphony of Voices: Music and 9/11 Beyond the U.S. 8. Terror in an Andean Key: Peasant Cosmopolitans Interpret 9/11 "Jonathan Ritter" 9. Exploding Myths in Morocco and Senegal: Sufis Making Music After 9/11 "Larry Blumenfeld " 10. Corridos of 9/11: Mexican Ballads in Commemorative Practice "John McDowell" 11. "I'll tell you why we hate you!" Sha'ban 'Abd al-Rahim and Middle Eastern Reactions to 9/11 "James Grippo" 12. 9/11 and the Politics of Music-Making in Afghanistan Ve"ronica Doubleday".
(source: Nielsen Book Data)
"Music in the Post 9/11 World" is the first book to examine the crucial role that music has played in the world's reaction to the attacks of September 11, 2001. Several authors eloquently describe how the events of September 11 served as a direct catalyst for artistic expression and commentary. This is one dimension of music in the post-9/11 world. Others approach the topic from a different angle, demonstrating how political and military actions that were initiated in the wake of 9/11 profoundly altered the environment in which music was created and performed. Bills like the Patriot Act have indirectly affected popular music by discouraging the expression of dissent, while major media conglomerates - that control radio, TV, and newspapers - have self-censored the music that is heard over the airwaves and reviewed in the media. (source: Nielsen Book Data)