Revolutionary songs are political songs that advocate or praise revolutions. They are used to boost morale, as well as for political propaganda or agitation. Amongst the most well-known revolutionary songs are "La Marseillaise" and "The Internationale". Many protest songs can be considered revolutionary - or later become canonized as revolutionary songs following a successful revolution. On the other hand, once a revolution is established, some of the aspects of protest song may be considered counter-revolutionary.
Revolutionary songs are a notable part of propaganda. The singing of such songs is often considered as a demonstrative or revolutionary action. Such songs have been known to lend solidarity to disjointed political communities. Some revolutionary songs have appeared spontaneously; others have been written by notable authors, such as Bertolt Brecht. Revolutionary songs are frequently targeted at certain governments.
Music was part of the cultural support of the earliest revolutions, and institutionalized as a genre of socialist or workers' music in countries including the Soviet Union, its former Eastern European satellites, China, Vietnam, Cuba and North Korea, as well as less permanent revolutionary movements in other countries.
During the French Revolution notable songs, beyond "La Marseillaise", included " Chant du départ ", "Carmagnole", " Ça Ira " (1790), "Allons Français au Champs de Mars" (1790), "L'aristocratie en déroute" (1790), "Aux bons citoyens" (1790), "Le bonnet de la liberté", and many more.
Songs during the American Revolutionary War with revolutionary lyrics and propaganda purposes include songs such as "Dying Redcoat", "Free America", "Poor Old Tory", and "Jefferson and Liberty".
The successful Greek War of Independence between 1821 and 1832, generated not only revolutionary songs in Greece, but wide artistic and musical support from other western nations.
The Revolutions of 1848 in Europe generated a wide range of revolutionary, nationalist and patriotic popular song. This tapped into earlier support for the Napoleonic revolutions. [1] [2] [3] The current Romanian national anthem " Deșteaptă-te, române! " is a revolutionary song of 1848. [4]
Revolutionary songs were used by the Bolsheviks during the Russian Revolution, with "The Internationale" becoming the national anthem of the USSR later on.
Many revolutionary songs appeared during the Spanish Civil War and subsequent social revolution, especially amongst members of the anarcho-syndicalist trade union, the Confederación Nacional del Trabajo . The most famous of these, " A las Barricadas ", remains popular for anarchist militants to this day.
In post-World War II Europe, revolutionary songs were taught in schools and sung at celebrations and official functions. [5]
Revolutionary songs were a prominent part of the popular culture of the People's Republic of China during the 1950s, 1960s, and 1970s, and especially during the Cultural Revolution. One of the more popular Chinese revolutionary songs was "Nanniwan", a 1943 song lauding the exploits of the Eighth Route Army in the titular gorge in Shaanxi province near the revolutionary base of Yan'an.[ citation needed ] Revolutionary songs of Communist China often served to glorify the Chinese Communist Revolution and to present an image of unity amongst China's 56 ethnic groups and its various regions.[ citation needed ] Songs such as "The Sky Above the Liberated Zone" (praising the Chinese Communist Party (CCP) and romanticizing life in the CCP-held liberated zones during the wars against Japan and the Kuomintang) and "Osmanthus Flowers Blooming Everywhere in August", a Chinese Red Army folk song from the Sichuan province, are among the best-known revolutionary songs from the wartime and Maoist periods in China.[ citation needed ]
Nhạc đỏ, "Red Music," is the common name of the revolutionary music (nhạc cách mạng) genre in Vietnam. [6] Composers during the struggle against the French include Đinh Nhu [7] then songwriters of Vietnamese popular music such as Văn Cao.
Cuba's national anthem " La Bayamesa " ("El Himno de Bayamo") dates to 1868, but many new songs were generated by the revolution. The key focus is on the rural people. [8] " Hasta Siempre " (1965) was written when Che Guevara departed Cuba to spread the revolution in Africa. Another well known Latin American song, " El pueblo unido jamás será vencido " (1973), is not a revolutionary song, but a Chilean protest song in support of Salvador Allende. Cuban government sponsored revolutionary Nueva trova is often similar to Nueva canción , Latin American protest songs.
Following the Iranian Revolution musicians were obliged to create music different from the pre-revolutionary music both in terms of rhythm and content. [9] Iranian revolutionary songs (Persian : سرودهای انقلاب اسلامی) are epic ballads, composed during the Islamic Revolution in Iran in support of the revolution and in opposition to the Pahlavi dynasty. Before the success of the revolution, these chants were made by various political supporters - many of them recorded on cassette tapes in underground and home studios. On the anniversary of the revolution, many of the songs were broadcast by Iranian state television. In schools the songs have been sung by students as part of the celebrations Fajr for decades.
Some revolutionary songs intentionally mimic folk (children's) songs to make them palatable in non-political settings. An example of this type of song is a lullaby from Hungary (tentative translation follows), which starts off as a lullaby but shifts into more direct propaganda toward the end:
The bunch of little bears happily sleeping
And the pool sleeps on a soft pillow
The swing sleeps too, and the night will be their good blanket
Dream, my little one, soft dream flies
It flies to your eyes
Be silent, little baby
Our dreams were hushed away by the grim despotism
And only our hunger sung our song.
Another example is "Tomorrow Belongs to Me", which is performed by a young man in the movie Cabaret . It starts off as a sweet folk song about nature, and then it becomes apparent that the young man is a member of the Hitler Youth. Soon, the song changes into a marching song, and the lyrics became a fascist propaganda about "rising up."
Another kind of revolutionary songs are folk songs that become popular or change lyrics during revolutions or civil wars. Typical examples, the Mexican song " La Cucaracha " and the Russian song " Yablochko " (Little Apple) have humorous (often darkly humorous) lyrics that come in easily remembered stanzas and vary highly from singer to singer.
The effect of some revolutionary songs has been compared to a coordinated attack, inspiring individuals to merge themselves into a cohesive body. [10]
A protest song is a song that is associated with a movement for protest and social change and hence part of the broader category of topical songs. It may be folk, classical, or commercial in genre.
"La Brabançonne" is the national anthem of Belgium. The originally French title refers to the Duchy of Brabant; the name is usually untranslated in Belgium's other two official languages, Dutch and German.
"La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin".
"Deșteaptă-te, române!" is the national anthem of Romania. It originated from a poem written during the Wallachian Revolution of 1848.
"The Internationale" is an international anthem that has been adopted as the anthem of various anarchist, communist, socialist, democratic socialist, and social democratic movements. It has been a standard of the socialist movement since the late nineteenth century, when the Second International adopted it as its official anthem. The title arises from the "First International", an alliance of workers which held a congress in 1864. The author of the anthem's lyrics, Eugène Pottier, an anarchist, attended this congress. Pottier's text was later set to an original melody composed by Pierre De Geyter, a Marxist.
Traditional Vietnamese music encompasses a large umbrella of Vietnamese music from antiquity to present times, and can also encompass multiple groups, such as those from Vietnam's ethnic minority tribes.
"The East Is Red" is a Chinese Communist Party revolutionary song that was the de facto national anthem of the People's Republic of China during the Cultural Revolution in the 1960s. The lyrics of the song were attributed to Li Youyuan (李有源), a farmer from Shaanbei, and the melody was derived from a local peasant love song from the Loess Plateau entitled "Bai Ma Diao" 《白马调》, also known as "Zhima You" 《芝麻油》, which was widely circulated in the area around Yan'an in the 1930s. The farmer allegedly got his inspiration upon seeing the rising sun in the morning of a sunny day.
"Three Colors" was the national anthem of the Socialist Republic of Romania from 1977 to 1990. On 24 January 1990, after the Romanian Revolution, it was officially replaced by the current anthem „Deșteaptă-te, române!”. Before 1977, the country's national anthem was „E scris pe tricolor Unire”, whose melody is the same as that of the Albanian national anthem.
Nueva Trova is a movement in Cuban music that emerged around 1967-1968 after the Cuban Revolution of 1959, and the consequent political and social changes.
"¡El pueblo unido jamás será vencido!" is a Chilean protest song, whose music was composed by Sergio Ortega Alvarado and the text written in conjunction with the Quilapayún band. Together with the song "Venceremos", also by Ortega, it is one of the most successful songs of the Nueva canción chilena movement. The theme has a marching rhythm, highlighting its chorus, which is a shout or slogan with only percussion. The song has been used in various protests around the world against either left or right-wing dictatorships, most of which have no direct connection to the Chilean coup or Latin America. The lyrics have been adapted or translated into many languages.
Lâm Nhật Tiến is a Vietnamese American singer who was affiliated with the music label Asia Entertainment Inc. from 1994 to 2016. He gained prominence through numerous appearances in Asia Entertainment's music videos, establishing himself as one of Vietnam's leading male pop stars.
The Personalist Labor Revolutionary Party, often simply called the Cần Lao Party, was a Vietnamese political party, formed in the early 1950s by the President of South Vietnam Ngô Đình Diệm and his brother and adviser Ngô Đình Nhu. Based on mass-organizations and secret networks as effective instruments, the party played a considerable role in creating a political groundwork for Diệm's power and helped him to control all political activities in South Vietnam. The doctrine of the party was ostensibly based on Ngô Đình Nhu's Person Dignity Theory and Emmanuel Mounier's Personalism.
Phạm Duy was one of Vietnam's most prolific songwriters with a musical career that spanned more than seven decades through some of the most turbulent periods of Vietnamese history and with more than one thousand songs to his credit, he is widely considered one of the three most salient and influential figures of modern Vietnamese music, along with Văn Cao and Trịnh Công Sơn. His music is noted for combining elements of traditional music with new methods, creating melodies that are both modern and traditional. A politically polarizing figure, his entire body of work was banned in North Vietnam during the Vietnam War and subsequently in unified Vietnam for more than 30 years until the government began to ease restrictions on some of his work upon his repatriation in 2005.
Phạm Tuyên is a Vietnamese musician. He was head of the music service at Hanoi's Voice of Vietnam Radio during the Vietnam War. He is the author of many popular socialist songs, for example Như có Bác Hồ trong ngày vui đại thắng and Đảng đã cho ta mùa xuân.
Tiếng gọi thanh niên, or Thanh niên hành khúc, and originally the March of the Students, is a famous song of the musician Lưu Hữu Phước.
V-pop, an abbreviation for Vietnamese popular music, is a music genre covering Vietnamese pop music from the 1990s to the present day.
Lưu Hữu Phước was a Vietnamese composer, a member of the National Assembly, and Chairman of the Committee of Culture and Education of the National Assembly of the Socialist Republic of Vietnam.
Nhạc đỏ or literally "Red Music" is the common name of the revolutionary music genre in Vietnam. This genre of music began soon after the beginning of the 20th century during the French colonial period, advocating for independence, socialism and anti-colonialism. Red Music was later strongly promoted across North Vietnam during the Vietnam War, to urge Northerners to achieve reunification under the Workers' Party of North Vietnam and fight against the "American imperialist puppet" in South Vietnam. Other forms of non-traditional, non-revolutionary music and culture in the North, like Vietnamese popular music and Western music and culture, were banned, being labelled as "counter-revolutionary", "bourgeois", or "capitalist".
Daiviet Populist Revolutionary Party was a nationalist and anti-communist political party and militant organisation that was active in Vietnam from 1943 to 1947.
La Doãn Chánh, known by his stage name La Hối, was a Vietnamese musician of Chinese heritage.