Endnotes
JV Wertsch, and HL Roediger, “Collective Memory: Conceptual Foundations and Theoretical Approaches,” Memory 16, no. 3 (2008): 318.
Nicholas Cook, “Introduction,” in Beyond the score: Music as performance (Oxford University Press, 2013), 6.
Cook, “Introduction,” 1.
Cook, 1.
Cook, 1.
Barley Norton, “Vietnamese popular song in ‘1968’: war, protest and sentimentalism,” in Music and Protest in 1968, eds. Beate Kutschke and Barley Norton (Cambridge, England: Cambridge University Press, 2013), 111.
Jonathan McKeown-Green, “What Is Music? Is There a Definitive Answer?,” The Journal of Aesthetics and Art Criticism 72, no. 4 (2014): 394.
Irving Godt, “Music: A Practical Definition,” The Musical Times 146, no. 1890 (2005): 86.
Jan Assmann, “Music and memory in Mozart’s Zauberflöte,” in Performing the Past : Memory, History, and Identity in Modern Europe (Amsterdam: Amsterdam University Press, 2010), 187.
Jan Assmann, “Music and memory in Mozart’s Zauberflöte,” 187.
Jan Assmann, 188.
Jan Assmann, 187.
Jan Assmann, 188.
Jan Assmann, 187.
Jan Assmann, 187.
Maurice Halbwachs, “Historical Memory and Collective Memory,” in The Collective Memory (New York: Harper & Row, 1980), 50.
Halbwachs, “Historical Memory and Collective Memory,” 50.
Halbwachs, “Historical Memory and Collective Memory.”
JV Wertsch, and HL Roediger, “Collective Memory: Conceptual Foundations and Theoretical Approaches,” Memory 16, no. 3 (2008): 318.
Wertsch, and Roediger, “Collective Memory: Conceptual Foundations and Theoretical Approaches,” 318.
Halbwachs, “Historical Memory and Collective Memory,” 50.
Maurice Halbwachs, On Collective Memory, ed. Lewis A Coser (Chicago: University of Chicago Press, 1992), 38.
Maurice Halbwachs, On Collective Memory, 40.
Maurice Halbwachs, On Collective Memory, 40.
Aleida Assmann, “Re-framing memory. Between individual and collective forms of constructing the past,” in Performing the Past : Memory, History, and Identity in Modern Europe (Amsterdam: Amsterdam University Press, 2010), 37.
Jay Winter, “The performance of the past: memory, history, identity,” in Performing the Past : Memory, History, and Identity in Modern Europe (Amsterdam: Amsterdam University Press, 2010), 11.
Winter, “The performance of the past: memory, history, identity,” 12.
Nicholas Cook, “Introduction,” in Beyond the score: Music as performance (Oxford University Press, 2013), 2.
John R. Gillis, “Memory and Identity: The History of a Relationship,” in Commemorations: The Politics of National Identity, ed. Attila Pok, Jorn Russen and Jutta Scherrer (Princeton: Princeton University Press, 1994).
Gillis, “Memory and Identity: The History of a Relationship,” 5.
Aleida Assmann, “Re-framing memory. Between individual and collective forms of constructing the past,” 38.
Thomas Turino, “Introduction: Why Music Matters,” in Music as Social Life: The Politics of Participation (University of Chicago Press, 2008), 2.
Turino, “Introduction: Why Music Matters,” 3.
Winter, “The performance of the past: memory, history, identity,” 14.
Tôru Mitsui, “Music and protest in Japan: the rise of underground folk song in ‘1968’,” in Music and Protest in 1968, eds. Beate Kutschke and Barley Norton (Cambridge, England: Cambridge University Press, 2013), 83.
Theodor W. Adorno, Essays on Music, ed. R. Leppert, trans. Susan H. Gillespie (Berkeley: University of California Press, 2002), 289, quoted in Street, “Breaking the Silence: Music's Role in Political Thought and Action,” 327.
Turino, “Introduction: Why Music Matters,” 16-18.
Turino, “Introduction: Why Music Matters,” 16.
Barley Norton, “Vietnamese popular song in ‘1968’: war, protest and sentimentalism,” in Music and Protest in 1968, eds. Beate Kutschke and Barley Norton (Cambridge, England: Cambridge University Press, 2013), 108.
Norton, “Vietnamese popular song in ‘1968’: war, protest and sentimentalism,” 108.
Turino, “Introduction: Why Music Matters,” 3.
Renée Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815)” (PhD thesis, Ghent University, Faculty of Arts and Philosophy, 2022), 12.
Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815),” 33.
Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815),” 12.
Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815),” 12-13.
Benedict Richard O’Gorman Anderson, “Introduction,” in Imagined Communities: Reflections On the Origin and Spread of Nationalism (London: Verso, 2006), 6.
Anderson, “Introduction,” 7.
Anderson, 7.
David Featherstone, Solidarity : Hidden Histories and Geographies of Internationalism (London: Bloomsbury Academic & Professional, 2012).
Featherstone, Solidarity : Hidden Histories and Geographies of Internationalism, 5.
Featherstone, 15-39.
Featherstone, 38.
Featherstone, 7.
Featherstone, 6.
Featherstone, 33-34.
Featherstone, 35.
Anderson, 7.
Hank Johnston, What is a social movement? (Cambridge: Polity Press, 2014), 1.
Norton, “Vietnamese popular song in ‘1968’: war, protest and sentimentalism,” 106.
Doug Bradley, and Craig Werner, We Gotta Get Out of This Place : The Soundtrack of the Vietnam War, Culture, Politics, and the Cold War (Amherst: University of Massachusetts Press, 2015).
Norton, “Vietnamese popular song in ‘1968’: war, protest and sentimentalism,” 106.
N. Anand, and Mary R. Watson, “Tournament Rituals in the Evolution of Fields: The Case of the Grammy Awards,” Academy of Management Journal 47, no. 1 (February 2004): 63, doi:10.5465/20159560.
Xing Hang, “Ukraine,” in Encyclopedia of National Anthems (Lanham, MD: Scarecrow Press, 2003), 645.
Hang, “Ukraine,” 645.Hang, 645.
Hang, 645.
Hang, 646.
Hang, 645.
Hang, 645.
Hang, 645.
Hang, 646.
Philip V. Bohlman, “The Nation in Song.” In Narrating the Nation : Representations in History, Media and the Arts, ed. Stefan Berger, Linas Eriksonas, and Andrew Mycock (New York, NY: Berghahn Books, Incorporated, 2008), 262.
Bohlman, “The Nation in Song,” 262.
Hang, 646.
Bohlman, 262.
Bohlman, 262.
Bohlman, 261.
Hang, 646.
Hang, 646.
Bohlman, 261.
Hang, 646.
Hang, 646-647.
Bohlman, 262.
P. G. Hunter, E. G. Schellenberg, and U. Schimmack, “Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions,” Psychology of Aesthetics, Creativity, and the Arts 4, no. 1 (2010): 47–56, https://doi.org/10.1037/a0016873.
Nicholas Cook, “Introduction,” in Beyond the score: Music as performance (Oxford University Press, 2013), 2.
Adrian Mandzy, “Historical Justice, National Identity and Memory in Contemporary Ukraine,” in Transitional Justice in Troubled Societies, ed. Aleksandar Fatić, Klaus Bachmann, and Igor Lyubashenko (Rowman & Littlefield Publishers, 2018), 186.
Renée Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815)” (PhD thesis, Ghent University, Faculty of Arts and Philosophy, 2022), 35.
Mandzy, “Historical Justice, National Identity and Memory in Contemporary Ukraine,” 177.
Mandzy, 177.
Mandzy, 177.
Mandzy, 177.
Mandzy, 177.
Bohlman, 249.
Bohlman, 249.
Bohlman, 256.
Bohlman, 256.
Bohlman, 256.
Bohlman, 256.
Bohlman, 256.
Bohlman, 262.
Bohlman, 262.
Bohlman, 253.
Arve Hansen, Andrei Rogatchevski, Yngvar Steinholt, and David-Emil Wickström, “‘Lasha Tumbai,’ or ‘Russia, Good-Bye’? – The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground,” in War of Songs : Popular Music and Recent Russia-Ukraine Relations (La Vergne: Ibidem Verlag, 2019), 169.
Irving Wolther, “More than Just Music: the Seven Dimensions of the Eurovision Song Contest,” Popular Music 31, no. 1 (2012): 165, doi:10.1017/S0261143011000511.
Wolther, “More than Just Music: the Seven Dimensions of the Eurovision Song Contest,” 165–71.
Wolther, 168.
Wolther, 169.
Wolther, 167.
Wolther, 167.
Wolther, 169.
Wolther, 170.
Wolther, 170.
Arve Hansen, Andrei Rogatchevski, Yngvar Steinholt, and David-Emil Wickström, “‘Lasha Tumbai,’ or ‘Russia, Good-Bye’? – The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground,” in War of Songs : Popular Music and Recent Russia-Ukraine Relations (La Vergne: Ibidem Verlag, 2019), 163.
Hansen, Rogatchevski, Steinholt, and Wickström, “‘Lasha Tumbai,’ or ‘Russia, Good-Bye’? – The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground,” 163.
Mandzy, “Historical Justice, National Identity and Memory in Contemporary Ukraine,” 177.
Hansen, Rogatchevski, Steinholt, and Wickström, 164.
Hansen, Rogatchevski, Steinholt, and Wickström, 192.
Hansen, Rogatchevski, Steinholt, and Wickström, 192.
Hansen, Rogatchevski, Steinholt, and Wickström, 192.
Hansen, Rogatchevski, Steinholt, and Wickström, 164.
Hansen, Rogatchevski, Steinholt, and Wickström, 164.
Hansen, Rogatchevski, Steinholt, and Wickström, 165.
Hansen, Rogatchevski, Steinholt, and Wickström, 165.
Hansen, Rogatchevski, Steinholt, and Wickström,183-184.
Marko Pavlyshyn, “Ruslana, Serduchka, Jamala: National Self-Imaging in Ukraine’s Eurovision Entries,” in Eurovisions : Identity and the International Politics of the Eurovision Song Contest Since 1956, eds. Julie Kalman, Ben Wellings, and Keshia Jacotine (Cham, Switzerland: Springer Nature, 2019), 132.
Arve Hansen, Andrei Rogatchevski, Yngvar Steinholt, and David-Emil Wickström, “‘Lasha Tumbai,’ or ‘Russia, Good-Bye’? – The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground,” in War of Songs : Popular Music and Recent Russia-Ukraine Relations (La Vergne: Ibidem Verlag, 2019), 190-191.
P. G. Hunter, E. G. Schellenberg, and U. Schimmack, “Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions,” Psychology of Aesthetics, Creativity, and the Arts 4, no. 1 (2010): 47–56, https://doi.org/10.1037/a0016873.
Renée Vulto, “Singing Communities : Politics of Feeling in Songs of the Dutch Revolutionary Period (1780-1815)” (PhD thesis, Ghent University, Faculty of Arts and Philosophy, 2022), 10.