PředmětyPředměty(verze: 945)
Předmět, akademický rok 2023/2024
   Přihlásit přes CAS
Music and Propaganda - YMSKA57
Anglický název: Music and Propaganda
Zajišťuje: Program Antropologická studia (24-KOA)
Fakulta: Fakulta humanitních studií
Platnost: od 2023
Semestr: letní
E-Kredity: 4
Způsob provedení zkoušky: letní s.:
Rozsah, examinace: letní s.:0/4, Z [DS]
Počet míst: neurčen / 15 (15)
Minimální obsazenost: neomezen
4EU+: ne
Virtuální mobilita / počet míst pro virtuální mobilitu: ne
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Způsob výuky: prezenční
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
Garant: doc. PhDr. Zuzana Jurková, Ph.D.
Vyučující: Dr. Razia Sultanova
Třída: Courses available to incoming students
Korekvizity : {Kurz je pod tímto kódem určen studujícím magisterských studijních programů. Studující bakalářského programu si mohou zapsat jeho bakalářskou variantu s kódem začínajícím na "YB".}
Neslučitelnost : YBAJ247
Je neslučitelnost pro: YBAJ247
Anotace -
Poslední úprava: Mgr. et Mgr. Karolína Jindráková (22.02.2024)
Joseph Goebbels (1897-1945), the mastermind behind propaganda during the German Third Reich, wielded his oratorical and propagandist skills to craft a positive image of the Nazi regime among the German populace. His influence extended beyond Germany, impacting other authoritarian regimes such as the USSR and contemporary Russia, where obedience to authority often superseded personal freedom. The recent conflict in Ukraine underscores the pervasive role of propaganda as a primary ideological weapon in Russia's contemporary history. The Propaganda Model, developed by Edward Herman and Noam Chomsky, illuminates systematic distortions in media driven by economic factors. However, it predominantly focuses on traditional media, overlooking the equally influential realms of music and arts. This course aims to bridge this scholarly gap by specifically examining the impact of propaganda on music, media, and arts. Our objective is to approach propaganda from a scholarly perspective, identifying core issues within the subject. George Orwell aptly noted in 1940, "All art is propaganda, but not all propaganda is art." We will explore how propaganda functions, its primary genres and methods, the most opportune times for deployment, and the crucial actions and strategies involved. Furthermore, we will delve into what makes propaganda an effective tool for influencing thought processes through music and art.. This course endeavours to explore uncharted territories in the study of propaganda, shedding light on its intricate nature within the realms of music and arts. It will introduce a diverse array of performance genres, excerpts from films, visual art pieces, and illustrative examples from social media, thereby delving into the dynamic aspects of propaganda in action. Through a blend of lectures, debates, workshops, role-playing exercises featuring propaganda parodies for historical reenactments, puzzles, and panels with invited journalists from the RFE, students will acquire a comprehensive understanding of the subject and its multifaceted influences on society. The course draws examples from various countries such as the Czech Republic, USSR, USA, UK, Germany, France, Afghanistan, Iran, Vietnam, North Korea, Yugoslavia, Slovakia, Uzbekistan, Hungary, China, Russia, Ukraine, and more. Additionally, there is the exciting prospect of a potential excursion to Prague's Museum of Communism, providing students with a tangible connection to the historical context of propaganda.
Sylabus - angličtina
Poslední úprava: Mgr. et Mgr. Karolína Jindráková (22.02.2024)

LECTURE number  ONE (15.03.2024)

Lecture 1: Introduction to Propaganda

Propaganda - dissemination of views, facts, arguments, rumours, information (including distorted) or deliberately false information in order to form the desired public opinion and manipulate public consciousness

Initially, the term “propaganda” was neutral and was used to denote the mass dissemination of information, but subsequently the term increasingly acquired a pejorative connotation and became associated with manipulation and disinformation. A “propagandist” is a person who creates, carries out or distributes propaganda. Counter-propaganda is engaged in countering propaganda, which in itself is also propaganda.

A. Unveiling Propaganda.

Historical Evolution and Theoretical Foundations: Examining propaganda's roots and evolution over time. Example: ”The receptivity of the masses is very limited, their intelligence is small, but their power of forgetting is enormous. In consequence of these facts, all effective propaganda must be limited to a very few points and must harp on these in slogans until the last member of the public understands what you want him to understand by your slogan.” -  Adolf Hitler

B. Music as a Political Tool:

• Historical Context: Tracing the use of music as a political tool throughout history. Discussing the impact of music in conveying ideological or political beliefs.

• Pop Music as Propaganda: Exploring the intersection of popular music and propaganda, how music can be a form of propaganda by having students analyse and perform songs with propaganda messages

Case Study Workshop: Analysing specific examples of pop music used as propaganda (Hymns and anthems of USA, UK, Afghanistan, Russia, etc).

C. Arts as a tool of propaganda

Whilst propaganda has long been synonymous with furthering ideologies through speeches, writing, and reporting, it also has a powerful history of intentionally manipulating visual art to express political sentiments. As art is a form of expression, its commentary on social and political realities enables the medium to be a catalyst for change. Recalling the history of political propaganda, one can understand how intentionally propagated images furthered states’ political sentiments through visually communicating messages. (WW1, WW2, etc). See :Political Posters:

D. Media as the tool of Propaganda

Propaganda is often used in media to further some sort of agenda, such as a personal, political, or business agenda, by evoking an emotional or obligable response from the audience. It includes the deliberate sharing of realities, and philosophies intended to alter behaviour and stimulate people to act.

To explain the close associations between media and propaganda Richard Alan Nelson observed propaganda as a form of persuasion with intention with the aid of controlled transmission of single-sided information through mass media. Mass media and propaganda are inseparable.

E: History of Propaganda at Wartimes

Throughout history, propaganda has always been evident in momentum social movements such as revolutions and especially during wartimes (WW1, WW2, Vietnam War, Afghan War, Wars in Yugoslavia, Chechnya, Georgia, etc). During the Second World War, the power of propaganda came to the extreme, under the horrors of Nazi Germany. And since then, the word carries more negative connotations than neutral.

Propaganda Puzzles: Example:WW2 on Adolf Hitler

Interactive Debate: Reading and discussing two articles (below)


F: Suggested reading:

1) James Chapman, 2000,  Review Article ‘The Power of Propaganda”


2) AMERICAN HISTORICAL ASSOCIATION “What Are the Tools of Propaganda?”



G:  Homework’s Questions

1)        What is Propaganda and how does it develop in different countries (USA, Germany, USSR, Czechoslovakia, Russia)?

2)        Which age group is particularly vulnerable toward Propaganda?

3)        Bring your own examples of Propaganda from everyday life (from politics, musics, posters, radio programmes or newspapers).


Lecture n 2: 16.03.2024 (3 hours)

The Past and Present of Propaganda in Authoritarian Regimes and Conflict Zones

In this lecture, we will delve into the historical and contemporary aspects of propaganda, focusing on its role in authoritarian regimes and conflict zones. Our exploration will take a closer look at specific angles, with a broader examination of propaganda in dictatorship and war zones.

A. Historical Analysis:

Examining historical examples of propaganda in authoritarian regimes and conflict zones, delving into cases such as Nazi Germany, Stalinist Russia, and more recent instances like       North Korea.

B. Media Manipulation Techniques Before and After the Digital Age:

Investigating the specific techniques employed in propaganda, we will explore censorship, disinformation, and the control of media outlets to manipulate public perception. Additionally, we will analyse how authoritarian regimes leverage digital platforms and social media to spread propaganda, control narratives, and suppress dissent.

C. Role of State-Controlled Media:

Exploring the significant role of state-controlled media in disseminating propaganda and shaping public opinion.

D. Resistance and Counter-Propaganda:

Studying instances of resistance and counter-propaganda efforts within authoritarian regimes and conflict zones, examining their effectiveness.

E. Case Studies:

Focusing on specific case studies, including the analysis of propaganda strategies in North Korea, Russia, the USA, and others. By identifying common patterns and unique approaches, we aim to gain a deeper understanding of the dynamics at play in different geopolitical contexts.


F. Suggested reading:

1.“Russian Propaganda in the Czech Republic, Slovakia an Hungary (Lóránt Győri Jonáš Syrovátka).”


 2.David Rosenblum, 2019, Battle for the minds: Use of propaganda films in Stalinist Russia and Nazi Germany https://commons.lib.jmu.edu/cgi/viewcontent.cgi?article=1713&context=honors201019.

Open Access https://commons.lib.jmu.edu/honors201019/710/

 3. Leonard W. Doob . Goebbels’ principles of Propaganda.The Public Opinion Quarterly, Vol. 14, No. 3 (Autumn, 1950), pp. 419-442        (24 pages) Published By: Oxford University Press:  https://www.jstor.org/stable/2745999



Lecture n 3: 22.03.2024 (5 hours)

The World History of Propaganda of Nationalism and Patriotism Through Music, Arts, and Media

A.    Historical Roots of Nationalistic Music and Art:

Examining how historical events have shaped the development of nationalistic sentiments in various cultures.

B. Nationalism in Classical Music and Folk Music:

Analyse the use of classical music to promote nationalism in different countries. Investigate composers who incorporated nationalistic themes into their works. Explore how folk music and traditional arts, as seen in Uzbekistan, have been utilised to propagate nationalist ideas.

C. Political Movements and Music:

Studying how political movements associated with specific songs or genres have employed music as a tool for fostering patriotism.

D. Nationalistic Visual Arts, Cinema and Theatre:

Exploring how visual arts, including paintings and sculptures using symbolism and imagery, have been employed to promote nationalist ideologies. Examining how film, through specific movies, and theatre have been used as tools for nationalist propaganda.

F. Media and Nationalist Propaganda:

Investigating the role of media, including newspapers, radio, and television, in promoting nationalism, especially through the impact of technological advancements.

G. Contemporary Trends in Nationalistic Music and Arts:

Exploring how nationalism is expressed in modern music, arts, and media, shaping collective identity and influencing public perception in countries like Germany, USSR, China, Czechoslovakia, and Hungary.


H. Suggested Reading:

1.How Propaganda Manipulates Emotion to Fuel Nationalism: Experimental Evidence from China. Daniel C. Mattingly and Elaine Yao January 6, 2020.


 2. Our Song!" Nationalism in Folk Music Research and Revival in Socialist Czechoslovakia Author(s): Matěj Kratochvíl Source: Studia Musicologica, Vol. 56, No. 4, NATIONALISM IN MUSIC IN THE TOTALITARIAN STATE (1945-1989) (December 2015), pp. 397-405


3. ‘Rocking the nation’: the popular culture of neo-nationalism.

MARGIT FEISCHMIDT* and GERGŐ PULAY. Nations and Nationalism 23 (2), 2017, 309–326.



Lecture n 4: 23.03.2024 (3 hours)

Globalisation and Propaganda: Benefits and Challenges

The impact of globalisation on the development and nature of propaganda is significant, influencing international relations and shaping global perspectives. The relationship between music, arts, propaganda, and globalisation is dynamic, with various factors influencing the way cultural expressions are disseminated, consumed, and interpreted on a global scale. It involves a delicate balance between cultural preservation, global integration, and the potential for artistic expression to shape and reflect societal values in a globalised world.

A. Cultural Imperialism and Globalisation:

Investigating how dominant cultures, often associated with global powers, influence and shape the music and arts of other nations. Analyse instances of cultural imperialism through the export of certain music genres and art forms.

B. Globalisation of Music Genres:

Exploring how certain music genres (pop, rock, hip-hop, and electronic music) have become globalised and transcended cultural boundaries. Examine the impact of Western music on local and indigenous musical traditions. Study how global movements, such as social and political activism, use music and      arts as forms of expression and communication.


Suggested reading:

1)JOURNAL ARTICLE. Pieterse Jan Nederveen, Globalisation, Kitsch and Conflict: Technologies of Work, War and Politics.Review of International Political Economy, Vol. 9, No. 1 (Mar., 2002), pp. 1-36 (36 pages), Published By: Taylor & Francis, Ltd.


2) Greta Kapur. 1998. Globalisation and Culture: Navigating the Void (pp. 191-217). in: The Cultures of Globalisation. Fredric Jameson, Masao Miyoshi (Eds).https://doi.org/10.2307/j.ctv11cw3dt.13 https://www.jstor.org/stable/j.ctv11cw3dt.13

https://cuni.primo.exlibrisgroup.com/permalink/420CKIS_INST/1ustijj/alma9925916601706986 (přístup jen do 30.4.2024)


And (!) Suggested Group Visit to the “Prague Museum of Communism”.


General Bibliography

Albrigh, Neal, (2011) "A Policy of Rock: How Rock and Roll Undermined the Communist Revolution in Cold War Russia," Historical Perspectives: Santa Clara University Undergraduate Journal of History, Series II: Vol. 16 , Article 14

AMERICAN HISTORICAL ASSOCIATION “What Are the Tools of Propaganda?”https://www.historians.org/about-aha-and-membership/aha-history-and-archives/gi-roundtable-series/pamphlets/em-2-what-is-propaganda-(1944)/what-are-the-tools-of-propaganda

Benningsen. A. 1970. Muslim National Communism in the Soviet Union: a revolutionary strategy for the colonial world (coauthored with S.Enders Wimbush), Chicago, University of Chicago Press.

Bittner, Sarah Jean (2012) « Pop in the bloc : how popular music helped the United States win the Cold War »

Brewer, S. 2009: Why America Fights: Patriotism and War Propaganda from the Philippines to Iraq. New York: Oxford University Press.

Bussemer, Th. 2009, Propaganda: Konzepte und Theorien (in German), Springer-Verlag.

Chapman, James. 2000:  Review Article ‘The Power of Propaganda” :https://www.jstor.org/stable/261067

Cook, N.2000. {Sound & Film} Theory of Musical Multimedia by Nicholas Cook  https://oscarter.medium.com/sound-film-theory-of-musical-multimedia-by-nicholas-cook-80c6054273a2

David-Fox, M. 2015,Crossing Borders: Modernity, Ideology, and Culture in Russia and the Soviet Union. University of Pittsburgh Press.

Doob, Leonard. “Goebbels’ Principles of Propaganda”, Public Opinion Quarterly, vol. 14, 1950, pp. 419-442.

Ellul, J.1965: Propaganda, The Formation of Mens attitude.VINTAGE BOOKS. A DIVISION OF RANDOM HOUSE, NEW YORK .

Fitzpatrick, S.1993: 745-770, Ascribing Class: The Construction of Social Identity in Soviet Russia.The Journal of Modern History,Vol. 65, No. 4 (Dec., 1993). the University of Chicago Press

Győri Lóránt and Syrovátka Jonáš. “Russian Propaganda in the Czech Republic, Slovakia an Hungary .” https://www.shrmonitor.org/russian-propaganda-in-the-czech-republic-slovakia-and-hungary/

Huxley, Aldous. Brave New World Revisited. Bantam Books, 1960.

Jowett, Garth S., and Victoria O’Donnell. Propaganda & Persuasion. Sage, 2014.

Jůzl, M. 1996; Music and the Totalitarian Regime in Czechoslovakia. International Review of the Aesthetics and Sociology of Music. Vol.27, No.1 pp 31-51. Published By: Croatian Musicological Society 

Kapur Greeta. 2008. Globalisation and culture.sPages 21-38 | Published online: 19 Jun 2008

Lasswell, Harold D. 2013: Propaganda Technique in the World War, Martino Fine Books.

Marlin, Randal. Propaganda and the Ethics of Persuasion, 2nd ed., Broadview Press, 2013.

Mogos & Berkers, 2018. Navigating the Margins between Consent and Dissent Mechanisms of Creative Control and Rock Music in Late Socialist Romania. East European Politics and Societies and Cultures. Volume 32 Number 1, p 61

Olkhovsky, A.1975. Music under the Soviets: the Agony of an Art. Greenwood Press.

Pieterse Jan Nederveen, Globalisation, Kitsch and Conflict: Technologies of Work, War and Politics.Review of International Political Economy, Vol. 9, No. 1 (Mar., 2002), pp. 1-36 (36 pages), Published By: Taylor & Francis, Ltd.

Perris. A . 1985. Music as Propaganda: Art to Persuade, Art to Control. Greenwood Press.

Political Posters: https://www.foreignaffairsreview.com/home/the-history-of-art-as-propaganda

Rice,T .2014. Ethnomusicology: A Very Short Introduction. Oxford University Press. USA

Ritter, Rüdiger (2018) « Between propaganda and public diplomacy : Jazz in the Cold War » in Popular Music and public diplomacy

Schmelz, P. J, 2009. Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw, Oxford Scholarship Online

Sultanova R. & Rancier M. 2019. (Eds) Turkic soundscapes: From Shamanic Voices to Hip-Hop, Routledge, London - New York

Sultanova R. 1993, p 7. “Politics and Music after the October revolution" in The Situation in the Years after 1930, ACASIA, USA

Tomoff, K. 2006. Creative Union: The Professional Organisation of Soviet Composers, 1939–1953. Ithaca.

Tsipursky, Gleb (2016) Jazz, Power, and Soviet Youth in the Early Cold War, 1948–1953 inThe Journal of Musicology, Vol. 33, No. 3, pp. 332-361

Wauson, Ryan (2017) « Remembering Soviet pop : the USSR’s vocal instrumental ensembles »


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