AuthorRODGERS, STEVEN DEAN.
Committee ChairKing, Andrew A.
MetadataShow full item record
PublisherThe University of Arizona.
RightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
AbstractThis study investigated the antinuclear musical compositions that occurred between the dropping of the first nuclear detonation device in 1945 and the accident at the Three Mile Island nuclear energy facility near Harrisburg, Pennsylvania. This study utilized a framework provided by Kenneth Burke in that the five areas of the pentad--scene, agents, acts, agencies and purposes--were investigated in relation to one another. Each of these areas was investigated with regard to the unique nature of the medium of popular song operating as a cultural key. The scenic analysis centered upon the cause of the exigency that brought about the antinuclear music. As the uses of nuclear energy changed from military uses to energy generation, the musical and lyrical content also changed. Special consideration of the Musicians United for Safe Energy movement was presented in an historical context, noting antecedent movement activity. Other positive, negative and neutral agents were also considered. The specific acts of the nuclear age are divided into actual physical, historically verifiable actions with regard to nuclear activity and in incipient action as presented through the lyrics of the musical compositions. Consideration of the agencies used by the positive agents centered around the concept of identification as essential to the movement against nuclear energy. This identification was considered as "Identification Of," "Identification With," and a third type of "Corporate Identification," in that conflicting identifications may occur. The purposes of the antinuclear movement were to fight the proliferation of nuclear arms and energy generation facilities through the cohesive force of music to mobilize the youth on behalf of the antinuclear movement, to provide a sense of belonging and participation in peer group activity, and to provide a release for the youth of this era of history. The conclusions of this research indicate that the antinuclear musical activity has provided the vocabulary, the imagery and the syntax with which the public addressed nuclear energy when the Three Mile Island episode solidified public opinion on the issue.
Degree ProgramSpeech Communication