Music making was a common practice during the 1989−90 strike against the Pittston Coal Company, an action led by the United Mine Workers of America. The types of music made varied greatly based on the contexts in which musicians and protesters were participating. In this thesis, I discuss how performers and audiences engaged with the music of the Pittston strike, with a focus on how different participatory and presentational contexts included music with similar or the same lyrics to achieve different goals. I argue that the musicians’ understanding of the people around them as potential participants, audiences, or inherent audiences shifted their use of music as they worked to use music strategically and effectively for the strike. The musical methods and considerations of the Pittston strike protesters have had a lasting impact on more recent protest movements.