publikum – konsum og … · subculture theory fan culture. kap. 11. the sociology of the music...
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MUS1500 - Jazz, pop og rock
Foreleser: Hans T. Zeiner-Henriksene-mail: [email protected].: Mob.: 48059723 Kontor: 22854857
Publikum – konsum
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Resepsjon= hvordan vi mottar, tolker og bruker
musikk
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Er gruppetilhørighet bestemmende for hvilken musikk vi liker/ikke liker?
Er hvilken musikk vi liker/ikke liker bestemmende for gruppetilhørighet?
eller
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1. Histories
2. Industries and Institutions
3. Form, Meaning and Representation
4. Audiences and Consumption
5. Case studies and Conclusions
Tim Wall (2003):«Studying Popular Music Culture»
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Part 4. Audiences and Consumption
11. The Sociology of the Music Consumer
12. Listening and Looking
13. Dancing
14. Consuming Records
Kap. 11 gir en historisk oversikt over studier rettet mot populærmusikkens publikum. Kap. 12, 13 og 14 diskuterer måter vi “konsumerer” populærmusikk; lytte og se, danse og kjøpe plater (musikkfiler).
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Kap. 11. The Sociology of the Music Consumer
Fanaticism and mass cultureSubculture theoryFan culture
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Kap. 11. The Sociology of the Music ConsumerFanaticism and mass culture
Subculture theory
Fan culture
T. W. Adorno F. R. Leavis D. Macdonald
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Jitterbug 1944
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Keith Negus (1996): “Audiences”Fra: «Popular Music in Theory: An Introduction.»
Adornos karakteristikk av pop.mus.lytterenStudier fra 50-60-tallet: minoritet/majoritetHebdige: Subkulturstudie (1979)Kritikk av Hebdige knyttet til 4 temaerStudier av “aktiv lytting”Konklusjon
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David Riesman – 1950 – tenåringer.
Minoritet – mer kritisk, misliker gjennomgående de mest populære artister
Majoritet – mindre ”bevisste” lyttere, liker de mest populære artistene
Aktiv minoritet – passiv majoritet
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Hall & Whannel – 1964
Vektlegger generasjonsforskjeller
Mer nyansert syn: Manipulert/utnyttet + selvstendig kreativ utnyttelse
Generasjonsforskjeller
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Elvis Presley 1956
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Generasjonskløft
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Kap. 11. The Sociology of the Music Consumer
Fanaticism and mass culture
Subculture theory
Fan culture
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- stor innflytelse (journalister, musikkforskning – indirekte; musikkgenre og stiler)
En subkultur – egen livsstil i opposisjon til den ”ordinære” kulturen – underordnet – ønsket å utfordre verdigrunnlaget til det dominerende lag.
Subkulturer
Dick Hebdige: Subculture: the meaning of style (1979)
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Mods vs. Rockers
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Sex Pistols
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Teddy Boys vs. punks
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Style:
Elementer genererer mening- klær, hårfrisyre, språk, musikk
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Viktig: Distinksjonen mellom subkulturen og “mainstream”
Intensjon: Å vise avstand fra det konvensjonelle
= “mainstream”
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PUNKEN i opposisjon MAINSTREAM
?
?
?
?
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Kritikk - knyttet til 4 temaer:
Mannsdominans
Subkulturteoriens elitisme
Subkulturen vs. mainstream
Homologi
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Mannsdominans
Subkulturteorien marginaliserte jenter/kvinner.
McRobbie 1980, McRobbie & Garber 1990
- viste at subkulturteorien fremhevet en subkultur som ikke var særlig opposisjonell i forhold til kjønn og kjønnsroller.
Musikklytting i hjemmene ignorert - kjønnsmessige forskjeller for resepsjon ikke diskutert.
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Subkulturteoriens elitisme
Majoriteten av populærmusikkpublikumet ignorert.
Clarke 1990
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Subkulturen versus mainstream
Punk rock = punk er en del av rocken
Utover 80-tallet: Færre tydelige subkulturer.
Thornton (1995): Studier av klubbkultur.
Mainstream; brukes av musikkentusiaster, trendsettere, o.l. for å definere hva som er “hipt” og “uhipt”.
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Fatboy Slim: “Praise You” (1998)
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Medias rolle
Media former subkulturer
Subkulturell kapital
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Sarah Thornton (1995): «Club cultures. Music, Media and Subcultural Capital»
Pierre Bourdieu
Fransk sosiolog1930-2002
Kulturell kapital
Økonomisk kapital
Sosial kapital
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Thornton:
Subkulturell kapital
Hipness:
Objektivisert Personifisert
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Underground Mainstream
”They were denigrated for having indiscriminate musical tastes, lacking individuality and being amateurs in the art of clubbing.”
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HomologiAlle elementene som danner en spesiell stil former en enhet.
To problemer:
1. Hvilken rolle spiller musikken? Hos Hebdige er den ett av flere elementer.
2. Hva med subkulturelle stiluttrykk som flyttes ut av subkulturen?
Musikk som utgangspunkt - en genre danner mulighet for en subkultur.
Imitasjon - adapsjon - kommersiell utnyttelse?
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Will Straw (1991): Alternativt begrep:Music Scene
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Andy Bennett (1999/2006): “Subcultures or Neotribes? Rethinking the Relationship between Youth, Style and Musical Taste”Fra: 1999: Sociology Vol. 22, Nr. 3. August.
2006: Bennet, A., Shank, B., og Toynbee, J. (red.): «The Popular Music Studies Reader»
Mål: Et alternativt teoretisk rammeverk til subkulturteorien. Nytt begrep: “Neotribes”.
Favne en pluralistiske og vekslende stilorientering.
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Tribes = stammer - vage grenser og skiftende tilhørighet
CCCS - Birmingham Centre for Contemporary Culture Studies
Problemer: -Uniformt-Motstandsorientert-Identitetsrettet
Likevel; subkulturbegrepet beholdes. Problematisk fordi grensene er flytende og publikum vandrer ut og inn
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Michel Maffesoli (fr. sosiolog): “Urban tribes”
“refers more to a certain ambience, a state of mind, and is preferably to be expressed through lifestyles that
favour appearance and form.”
Bennett underbygger sin neotribalisme med materiale fra et etnografisk studie innen klubbkultur i Newcastle.
Individuelle valg mellom fragmenterte, temporære opplevelser.Mange aktiviteter - flytende kultur. Musikalsk smak og stil ikke lenger homogen.
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Kap. 11. The Sociology of the Music Consumer
Fanaticism and mass culture
Subculture theory
Fan culture
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Keith Negus (1996): “Audiences”Fra: «Popular Music in Theory: An Introduction.»
Adornos karakteristikk av pop.mus.lytterenStudier fra 50-60-tallet: minoritet/majoritetHebdige: Subkulturstudie (1979)Kritikk av Hebdige knyttet til 4 temaerStudier av “aktiv lytting”Konklusjon
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Wall: De mer konkrete aktivitetene knyttet til musikkresepsjon er i liten grad til stede i teoretiseringen av publikum.
Lytte og se
Danse
Kjøpe/samle
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Kap. 12. Listening and Looking
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Kap. 12. Listening and Looking
Learning from Adorno and RiesmanSurveys and ethnographies of listeningLooking at pop
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Theodor Adorno (30-, 40-tallet):Lyttere av populærmusikk er passive og ukonsentrerte lyttere.
David Riesman (50-tallet):Enkelte lyttergrupper innen jazz er aktive mens den store majoritet er passive og ukritiske lyttere. Dansing anses å forflytte fokus vekk fra den aktive musikklytting.
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God klassisk musikk
Mindre god klassisk musikk
Populærmusikk
Adornos verdistige
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Bebop jazz
Trad. jazz
Musicals/Tin Pan Alley
Riesmans verdistige
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Verdistige
Pop
Disco/house/dance
Rock
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Verdistige
Techno
House
Trance
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Fokusert stillesittende lyttinghelhet - struktur - intellekt
Fokusert stillesittende lyttingdel - melodi - emosjoner
Bevegelsesorientert lyttingdel - rytme - groove
Dansing
Hvilken type lytting er mest verdifull?
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Kap. 12. Listening and Looking
Learning from Adorno and RiesmanSurveys and ethnographies of listeningLooking at pop
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Kap. 12. Listening and Looking
Learning from Adorno and RiesmanSurveys and ethnographies of listening
- lytting er knyttet til gruppetilhørighet.- lytting gjøres ofte i kombinasjon med andre aktiviteter.- musikkens affektive egenskaper fremheves.
Looking at pop
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Kap. 12. Listening and Looking
Learning from Adorno and RiesmanSurveys and ethnographies of listeningLooking at pop
Ann Kaplan (1987): Rocking Around the Clock: Music Television, Postmodernism & Consumer Culture
Andrew Goodwin (1992): Dancing in the Distraction Factory: Music Televison and Popular Culture
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Kap. 13. DancingThe politics of dancing
Dancing in New York in the 1920sNot Dancing in London and Paris in the 1950s
The modern dancefloorThe Experience and Meaning of DancingThe Dancefloor and Cultural IdentityManipulating Records and the Dancefloor
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Fokusert stillesittende lyttinghelhet - struktur - intellekt
Fokusert stillesittende lyttingdel - melodi - emosjoner
Bevegelsesorientert lyttingdel - rytme - groove
Dansing
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To historiske hendelser; dans entrer populærmusikkfeltet på 20-tallet, dans marginaliseres på 50-tallet.
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Kap. 13. DancingThe politics of dancing
Dancing in New York in the 1920sNot Dancing in London and Paris in the 1950s
The modern dancefloorThe Experience and Meaning of DancingThe Dancefloor and Cultural IdentityManipulating Records and the Dancefloor
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The modern dancefloor1. The Experience and Meaning of Dancing2. The Dancefloor and Cultural Identity3. Manipulating Records and the Dancefloor
3 områder av interesse for danserelaterte studier: 1. Hvordan dans oppleves fysisk; det meningsbærende ved å bevege seg til musikk.2. Dansegulvet fra et kulturelt perspektiv – som identitetsskaper.3. Hvordan dansegulvet organiseres i forhold til platespilling (DJ-kultur).
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Björk:“Bachelorette” 1997
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Friko:“Steal Away” 2003
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Mariza:“Há Uma Música Do Povo”2005Album: “Transparente”
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Edvard Grieg: Mor Aases død
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Produsent:Darkchild (Rodney Jerkins)