This paper explores the particular relevance of political engagement within the field of music education. In times marked by a societal shift to the political right, growing populism, and threats to democratic values, confronting political issues has become essential for pedagogy—and therefore equally for music education. Music education must be understood as a form of political education that both reflects and responds to broader sociopolitical developments, while engaging with questions of disciplinary self-understanding and the preservation of its curricular responsibilities (e.g. Dunkel & Oeftering 2023).

Fulfilling this mandate requires a thorough engagement with key political concepts. The paper emphasizes the necessity of conceptual clarity regarding democracy, extremism, and populism (e.g. Mudde 2020; Mouffe 2000; Zick et al. 2011; Laclau 2007), as these terms underpin both analytical frameworks and pedagogical practice. Understanding what constitutes democratic values, what distinguishes extremist ideologies from populist movements, and how these manifest in musical contexts enables educators to navigate complex political content responsibly. Such theoretical grounding fosters critical reflection, informed curriculum design, and pedagogical strategies that foster democratic awareness and critical engagement through music.

Building on perspectives from political and social science as well as media and cultural studies, the presentation focuses particularly on the ways in which right-wing extremism and populism are disseminated through and via music and explores the educational and political implications that emerge from this for music education. It argues that addressing such phenomena requires not only pedagogical sensitivity, but also conceptual clarity and theoretical grounding.

Ultimately, this presentation conceptualizes music education as an existential and ethical space of democratic formation — one in which listening, participation, and reflection are practiced as both musical and political acts, and where the study of music becomes a means of sustaining democracy in times of crisis.

Music is not merely an aesthetic experience—it is also a tool of power, a symbol of identity, and a medium of social critique. This paper explores the intersection of music education with issues of power, ideology, and political discourse. It demonstrates how music has been used both to reinforce authority and as a means of resistance and emancipatory expression.

Through specific historical and contemporary examples, the paper illustrates how music has repeatedly been mobilized in contexts of absolutism, monarchy, totalitarian regimes, and democratic movements. Special attention is given to the shifting functions of music—from a symbol of state power and identity, through expressions of defiance and protest, to a vehicle for articulating civic, cultural, or environmental concerns in a globalized world. The paper thus offers a comparative perspective on music as part of political, cultural, and social events and histories in the Czech Republic and beyond.

Music education, through musical analysis, interpretation, and the confrontation of diverse listening preferences, provides a space for the development of critical thinking, cultural reflection, and democratic dialogue. The presentation includes findings from a repeated cross-sectional quantitative study on musical preferences among Czech upper secondary school students, involving 402 respondents. The research was conducted via a questionnaire survey that included listening samples from 32 genres. Students’ evaluations and identifications of these samples were used to assess their attitudes toward music and their level of musical tolerance. Sociomusical factors of the respondents were also considered. The results indicate that the length and continuity of music education increase tolerance toward musical genres and foster a more open approach to musical diversity.

The aim of this paper is to highlight how music pedagogy can support the education of engaged and receptive citizens who view music not only as art but also as a social phenomenon.