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2 The sound of marching feet

  • Kate Bowan and Paul A. Pickering
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Sounds of liberty
This chapter is in the book Sounds of liberty

Abstract

Commemorative parades, such as those on Labour Day and May Day, were but one site of musical behaviour among many in the public sphere. This chapter examines the making of music that was unambiguously intended for the full gaze of public scrutiny. It also examines parades using Labour Day as the focus for a broader discussion of the sound of marching feet. The chapter considers the place of music in the formal political world of electioneering. Our point of entry into the public sphere of music-making by radicals and reformers is to rejoin the parade about to set off down Marshall Street under the burning sun in Cobar. The photograph of Cobar gives a sense of the structure of a parade and the role of music-making within it. Moreover, it is clear is that many bands across the Anglophone world donated their services to Labour Day parades.

Abstract

Commemorative parades, such as those on Labour Day and May Day, were but one site of musical behaviour among many in the public sphere. This chapter examines the making of music that was unambiguously intended for the full gaze of public scrutiny. It also examines parades using Labour Day as the focus for a broader discussion of the sound of marching feet. The chapter considers the place of music in the formal political world of electioneering. Our point of entry into the public sphere of music-making by radicals and reformers is to rejoin the parade about to set off down Marshall Street under the burning sun in Cobar. The photograph of Cobar gives a sense of the structure of a parade and the role of music-making within it. Moreover, it is clear is that many bands across the Anglophone world donated their services to Labour Day parades.

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