hi! I can't give you information about your entire specified time period (and also, you didn't name a location) -- but I can tell you a bit about 1600s Europe (my knowledge is more focused in the first half of the 1600s to be specific).

The best and most famous artists were usually employed by the monarchy (or in Rome, the papacy) and so political statements they may have made were usually either flattering the monarch (consider La Couronne de Fleurs by Charpentier--basically an entire opera flattering Louis XIV), or symbolically supporting their power (cantatas based on mythology/Plato's academy and classical 'values' and ballets about "noble savages"), or simply performing the necessary duties of the church or chapel (religious music). Often, even the theoretical explorations of music were directed with an elitist bent (probably unintentionally).

We must not forget that our current conscientiousness is partly due to luxury: fewer people in our society (assuming you and I live in the same society) are struggling simply to survive. In 1600s Europe, tons of poor people were sleeping in the doorways of churches in Rome just so that they could be in that city to make some money to send home to their villages. Those who were not living this life might consider themselves either lucky to have narrowly escaped it (for example, once-poor musicians who were eventually ennobled) or granted a better life by God/divine will (maybe not questioning it further). Also, people were more likely to take social class for granted than they do now, so there was less motivation to strive for an egalitarian society with class mobility. Nonetheless, this was a time of change in which the aristocracy was beginning to feel they might not always enjoy the power (birthright) they had, so they were clinging to it with whatever justifications they could find, and displaying it in the most elaborate ways they knew how. While the lower classes in Rome were suffering under the pillaging of the Barberini (prompting complaints from the poor or average citizens of the city), the Barberini themselves were enjoying the incredibly refined music of their personal composers and virtuosic musicians, and those musicians in turn enjoyed the luxuries of an elite lifestyle.

So -- musicians at the top of their field were more likely to disregard or in some way support oppression than to struggle against it, at least in part because their own living and survival and quality of life depended on staying in their patrons' good graces. The best and most reliable way to make a solid living as a musician at the time was to find a patron and work at a court.

Some music did challenge political developments, or simply spread news, and was the less-elite stuff of the lower classes, often based in oral tradition -- for example broadside ballads.