Throughout history, music reflects and influences the cultural and social movements of the time. The music of the 1960s played a vital role in defining the decade as one of social and political revolution. Popular music in the 1960s reflected the change that American culture was experiencing following the assassination of President Kennedy, the United State's role in the war in Vietnam and the continuing Civil Rights Movement. In the article "Musical and Social Movements: Mobilizing Traditions in the Twentieth Century", authors Ron Eyerman and Andrew Jamison, focus on the cognitive praxis and sixties culture and explain the interrelations between music and social movements in the United States. Eyerman and Jamison effectively use ethos in "Musical and Social Movements: Mobilizing Traditions in the Twentieth Century" to persuade through credible evidence and reliable sources, the collective relationship between the music and social movements of the 1960s. 

Eyerman and Jamison create a substantial argument primarily through their usage of ethos throughout the chapter. Credibility is established by referencing experts such as sociomusicologist, Simon Firth, and introducing Kenneth Keniston as "one of the most important American scholars to reflect on the meaning of youth" (Eyerman, Jamison 110). Throughout the article many experts and previous studies are mentioned and included as part of the authors' argument. By referencing "Peter Guralnick, one of the foremost critics of popular music in the United States", the authors create a credible source that the audience will feel is trustworthy, and therefore strengthen their argument (Eyerman, Jamison 116). By introducing the experts, the authors use situated ethos to establish credibility. Because of their knowledge and expertise on the matter of music and sociology, the experts are credible and reliable sources. Had the authors cited an unknown musician or sociology student, the argument would come across as weak and less credible. By addressing the counterarguments for each topic throughout the article, credibility is reinforced. When countering sociologist Theodor Adorno's claim that people listen to the radio and not the music, the authors responded with "we think not" and went on to speak of Janis Joplin's lasting impact through her recordings and mass-distributed musical performances (Eyerman, Jamison 137). In doing so, the authors show confidence in their argument and establish credibility by providing both sides of the argument to the readers. The author's use of ethos supports their argument by appearing credible through their use of experts, studies, and their ability to stray from bias by addressing the counterargument. 

Eyerman and Jamison support their argument through their usage of logos throughout the chapter. The authors "persuade by using reasoning and evidence" by providing examples of musicians, the different social factors, both contextual and textual, external and internal that led to the creative revolution of culture and politics in the 1960s (Carolina Rhetoric 13). The authors provide evidence throughout the article by quoting and introducing reliable sources that support the argument.  By citing and referencing sociomusicologist, Simon Frith, Eyerman and Jamsion build a logical argument for youth's role in shaping music and it allows the reader to rationalize that the argument has been researched and studied. The authors also use logos when explaining what was occurring in society at the time. By using student activist Todd Gitlin's first hand account of how "one moment in the early 1960s, the 'years of hope' that preceded the 'days of rage' at the end of the decade" the authors provide evidence and direct quotes to emphasize the centricity of music to the politics of the 1960s (Eyerman, Jamison 116). Through their usage of cited information and integrated quotes, the authors appeal to the audience by creating a logical and reasonable argument that society and music were intertwined in the 1960s. 

The authors primarily use logos and ethos to create an argument that is supported through facts and credibility. The nature of the article is written in the form of a research paper rather than an argumentative essay, leaving little room for pathos to be used. The politics and social movements that surrounded the 1960s was one that was fueled by the emotions of those involved. While the authors do not focus heavily on pathos, it is still used throughout the article. Eyerman and Jamison appeal to the audience as music listeners and members of society. "Individuals who wandered on the borders of an absurd technocracy, which threatened them with a loss of freedom, equality, opportunity and individuality" listened to the music because it voiced the disenchantment they felt with society and politics (Eyerman, Jamison 123). The authors' diction choice appeals to those who might feel the same disenchantment and use music as their voice or those who lived through the 1960s and found their voice in the music. It was not only through the music itself that people found their voice, but through the artists themselves. Eyerman and Jamison paint a portrait of Janis Joplin. The portrait they paint of Janis Joplin and her "powerfully expressive music, her open-hearted emotionality and sexuality, her cry of pain from being a lone female rebel in a male-dominated counterculture, are there for all to hear" appeals to the emotions of the audience (Eyerman, Jamison 137). The portrayal of music icon Janis Joplin is powerful and poignant because of the emotive vocabulary the authors use. The authors use of pathos appeals to the connection that the audience feels towards music through the powerful diction used and focusing on the emotional impact that music has on individuals and society. 

In the article "Music and Social Movements: Mobilizing Traditions in the Twentieth Century" by Ron Eyerman and Andrew Jamison, ethos is effectively used to persuade the audience of the vital role that music played in creating the socially and politically revolutionary decade of the 1960s. While ethos is used primarily throughout the article, all three appeals are used to support Eyerman's and Jamison's argument. The authors effectively argue that the musical revolution of the 1960s created a new generation that culturally transformed American society for decades to come. 

