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Musiksociologi

Musiksociologi. MM2 26 .09.13 Musik, krop og det visuelle. Rock, performativitet og værkbegrebet.

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Musiksociologi

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  1. Musiksociologi MM2 26.09.13 Musik, krop og det visuelle

  2. Rock, performativitet og værkbegrebet Gracyk: ”[because rock music’sprimaryexistence is in recordings, it] is not essentially a performing art, howevermuch time rock musiciansspendpracticingontheir instruments orplaying live.” (citeret efter Auslander 2004, s. 3) Grossberg: ”The performative side of rock seems to besimplyanotheroccasion, anotheractivity, withnopriviledgebeyondthat of a nighton the town, a potentiallygood time.” (ibid.) … indspilningen er kernen i ”værket”. Men hvad værdi har det performative så? Small: Musicking: “performance does not exist in order to present musical works, but rather, musical works exist in order to give performers something to do.” (ibid., s. 4)

  3. Analyse af performance ”[…] performance analysis is understood to bespecifically from the spectator’s point of view.” (Auslander 2004, s. 4) ”Regardless of the ontological status of recordedmusic, itsphenomenological status for listeners is that of a performance unfolding at the time and in the place of listening.” (ibid., s. 5)

  4. Analyse af performance Populærmusik. Auslander (jf. Frith): • Popsangeren som ”personligt ekspressiv”. • Stjernepersona(image). • Sangens personlighed. Eller anderledes formuleret: • Den virkelige person. • Performance persona. • Karakteren. Eks.: http://www.youtube.com/watch?v=AK2D-ndAIbs

  5. Analyse af performance Auslander (2004), s. 11

  6. Frit oplæg v.Esebn

  7. Musik og krop Leppert: ”The body is a sight and a sound; the body is sighted and hears; the bodysees and makesaudible.” • ”The body is a sight” • ”also a site, […] to see at the same time it is beingseen.” • The body is a terrain […]; as such it canbemapped.” • ”The bodysounds: it is audible; it hears.” Leppert (1995), s. xix

  8. Musik og krop, analysen af det visuelle Repræsentationer af kroppen. Kroppen som diskurs: ”We ”know” out bodiesthrough the ”languagesabout the body.” (ibid., s. xx) Fænomenologisk ironi/problem: Musikkens ikkekropslige, ufysiske, ikkesproglige karakter. Leppert: Præcis derfor har vi brug for det visuelle til at forstå musikken ift. samfund og kultur. ”The way of seeinghenceincorporates the way of hearing.” (ibid., s. xxi)

  9. Tekstgennemgang ved Mads Waksman: ”Black Sound, Black Body: Jimi Hendrix, the electric guitar, and the meaning of blackness”, Bennett, Shank & Toynbee (red.): The Popular Music Studies Reader, (Routledge, Abingdon, 2006), s. 64-70

  10. Hvad ville jeg, Adorno, sige til musikvideoer?

  11. Musikvideoer Musikvideoer som: - … medieringer? - … mediealiserede/mediatized? - … værker? - … performance?

  12. Musikvideoens genrer Pseudodokumentarisk. Toby Keith: http://www.youtube.com/watch?v=FA1oQu6z5oo Metallica: http://www.youtube.com/watch?v=tAGnKpE4NCI Guns’n’Roses: http://www.youtube.com/watch?v=Rbm6GXllBiw

  13. Musikvideoens genrer Kunstmusikalsk. REM: http://www.youtube.com/watch?v=jWkMhCLkVOg Peter Garbiel: http://www.youtube.com/watch?v=OJWJE0x7T4Q Gorillaz: http://www.youtube.com/watch?v=LoQYw49saqc

  14. Musikvideoens genrer Narrative. Audioslave: http://www.youtube.com/watch?v=vVXIK1xCRpY Sara Evans: http://www.youtube.com/watch?v=06o-EYH9svs Britney Spears: http://www.youtube.com/watch?v=8YzabSdk7ZA

  15. Musikvideoens genrer Iscenesat performance. Destiny’sChild: http://www.youtube.com/watch?v=AqeIiF0DlTg SnoopDogg: http://www.youtube.com/watch?v=GtUVQei3nX4

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