ABSTRACT
Appropriation or censorship may serve any number of causes, and only some can be explored here. Music may be appropriated or censored by a faith, and the earliest uses of the term propaganda appeared in just this context. The term propaganda was coined in a modern European setting; the concept knows no boundaries, either of time or of place. On the European continent, faith, nationhood and ethnicity in that order were among the principal arenas for negotiating identities until relatively recent times. Faith trades in perceived truths, but faith and Church are by no means synonymous, a politics in which music was heavily implicated as a mode of propaganda. When the New York Times and the journal Ramparts broke the story of CIA cultural propaganda in Europe, major questions arose about just how far European artists and intellectuals were aware of what George Kennan, architect of the Marshall Plan, called the necessary lie.
