This special issue presents the perspectives of five composers—Hilda Paredes, Andile Khumalo, Marisol Jiménez, Hildegard Westerkamp, and Philippe Manoury—on music and politics today. Originating in the online lecture series ‘Poetics and Politics of Twenty-First-Century Music’, presented in 2021–22 by Universität Bern, McGill University, and Université de Montréal, the articles in this issue expand the composers’ original lectures into statements on the political contexts of their music and the potential of contemporary composition to effect social change. Their works address inequality, discrimination, exploitation, and violence, as well as the global threat of irreversible climate change. Another shared theme is the legacy of colonialism, both as a driving force of these social crises and a continuing challenge for composers who must reckon with Eurocentric attitudes and assumptions. These reflections on the transformative possibilities of musical creation illustrate a wide range of strategies for political engagement and praxis.

In this article, I address the political, social, and humanitarian issues at the core of my works for the stage. Through examples from my operas El Palacio Imaginado (2003), La tierra de la miel (2012), and Harriet (2018), I discuss how gender issues, social justice, and the burden of racism have transformed my musical language. La tierra de la miel dramatizes the tragedy of human trafficking on the US/Mexico border through the fictionalized story of two of its victims, driven into prostitution and physically and sexually abused. The opera seeks to give a voice to the hundreds of Mexican women (often from Indigenous communities) murdered along the border between the US and Mexico. Harriet recounts episodes from the life of abolitionist Harriet Tubman, including her concerted actions to end the institution of slavery, and ends with a message expressing hope for a continuation of her fight against slavery and racism.

Music cannot be separated from the politics which define the lived experiences of the twenty-first-century African composer. This article challenges the widespread error that African music is a homogeneous musical culture in which rhythm plays a primary role. This stereotype excludes African composers who do not focus on rhythm, while conversely, music by composers who do write rhythmically is dismissed as lacking intellectual complexity. How can we have our voices heard without being put in a box defining how our music should sound? How can African music be as independent and intellectually strong as any other music? Drawing on an overview of the current scene and excerpts from his own works, the author underscores the inherent hybridity of African music. His compositions include influences from jazz, African musics from different traditions, French spectralism, and more. His music is therefore a hybrid that does not reproduce its influences, but rather develops its own space.

This article explores political dimensions in Jiménez’s work, particularly the themes of liberation from societal oppression and memorialization of victims of violence. A focus is XLIII Memoriam Vivere, dedicated to the memory of the forty-three students from the Ayotzinapa Rural Teachers’ College who were abducted and murdered in on September 26, 2014; the perpetrators have not yet been brought to justice. The memory of the forty-three students is evoked through numerous references to the number 43 and the motto ‘Vivos’ (alive), presenting a reflection on a crime that has left a deep wound in the Mexican collective memory and an act of resistance against the forgetting of this injustice. In other works, the author address the oppression perpetuated by patriarchal and religious structures and interrogate the entrenchment of traditional gender roles. Music today must both confront the complex issues of our world and inspire actions to transform it.

In soundscape composition, environmental sounds form a ‘language’ that highlights the voices of the environment for everyone’s contemplation. Ideally, they create an atmosphere and space of listening that allow us to grapple with and perceive more deeply the ecological imbalances, social inequalities, cultural gaps, and political issues in which we find ourselves. With the help of compositional examples, the author traces ways in which soundscape compositions can be a forum for ‘speaking back’ in protest, making oppositional voices heard while simultaneously exploring artistic-poetic expressions for a deeper listening engagement with the sonic complexity of environmental sounds and the meanings they carry within them. Furthermore, the author considers whether and how a soundscape composition can be a relationship-builder between environment and listener: can it be an agent for listening to the land, to the natural world, in ways that make urgent and necessary changes of human behaviour possible?

The social and political upheavals that rock our world are rarely treated in the world of contemporary ‘art music’ composition. Popular music reaches a larger public and seems more at ease in addressing these themes. But is it intrinsically linked with such content in its musical expression, or only through its lyrics? Would art music, for its part, lose its ‘purity’ by abandoning its stance of abstraction in approaching these subjects? This article draws on examples from the author's works Kein Licht (2017) and Lab.Oratorium (2019). Kein Licht, a ‘Thinkspiel’, imagines a future in which humankind’s appetite for energy consumption has led our species to the verge of extinction. The semi-staged Lab.Oratorium addresses the humanitarian crisis of immigration into Europe. Both works reflect the evolution of traditional genres (opera, oratorio) with theatrical elements.