This volume examines the political power of Chilean New Song (la Nueva Canción chilena) and the roles of musicians as part of a movement for social and political change during the 1960s and
early 1970s, up to the 1973 coup that overthrew democratic socialist president Salvador Allende. It considers why Chilean New Song arose when it did and its political impact, including the
interaction between changes in society and increased creativity in the 1950s and 1960s, the social and political settings that gave rise to new popular movements like New Song, and how the
music came from and expressed the aspirations of rising popular classes and a counterhegemonic set of principles and values as Chilean society was transformed from old structures and
institutions. It incorporates analysis of Chile’s political history and cultural development with brief analysis of some songs. It describes Antonio Gramsci’s theory of counterhegemonic
movements and the key features of Chilean New Song; Chile’s political history from independence to the late 1960s; its musical history, particularly New Song’s precursors and key figures; the
Allende administration between 1970 and 1973 and the changes and developments in the New Song movement during the period; stories of some of the politically committed musicians and their ideals
and music, including analysis of lyrics from key songs; innovations of the New Song movement, the importance of collaboration between artists, and its key contributions; the 1973 coup and its
impact on Chilean politics and culture; and the significance of the period and the role of institutions and human agency in the New Song movement. Annotation ©2015 Ringgold, Inc., Portland, OR
(protoview.com)
