Form, mening og representasjon II

Transkript

1 MUS Jazz, pop og rock XI Form, mening og representasjon II Foreleser: Hans T. Zeiner-Henriksen h.t.zeiner-henriksen@imv.uio.no Tlf.: Mob.: Kontor:

2 Robert Walser (2002): Popular Music Analysis: Ten Apothegms and Four Instances Fra: Moore, A. F. (red.): «Analyzing Popular Music» Introduction Disciplines and values Ten apothegms Profound simplicity Fearing semiotics Is it good to have violent music? Killing Kenny G Analysis and values

3 Robert Walser (2002): Popular Music Analysis: Ten Apothegms and four instances Fra: Moore A. F.: «Analyzing Popular Music» Analyse av populærmusikk - utviklet fra forskjellige vitenskapelige disipliner: Fra sosiologi Fra musikkteori Fra musikkvitenskap Fra litteraturvitenskap Fra etnomusikkvitenskap Fra fans Fra musikkritikere

4 1. It s okay to write about music. 2. Unlike language, music often seems not to require translation. 3. Musical judgements can never be dismissed as subjective; neither can they ever be celebrated as objective. 4. The split between musicology and ethnomusicology is no longer useful because its constitutive dichotomies - self/other, Western/ non-western, art/function, history/ethnography, and text/practice - are no longer defensible.

5 5. Analysis is a relational activity; its success is relative to its goals, which analysts should feel obliged to make clear. 6. The split between musicology and music theory has never been useful because its consitutive dichotomy - culture/structure - has never been defensible. 7. Analysis is inevitably reductive, which is precisely why it s useful.

6 8. Popular music and classical music cannot be compared in terms of value because these categories are interdependent and actively reproduced. 9. Twentieth-century music is the music that twentieth-century people have made and heard. 10. You only have the problem of connecting music and society if you ve separated them in the first place.

7 4 eksempler Pirates of the Mississippi: «Feed Jake» 1990 Metallica: «Enter Sandman» 1991 Ice Cube: «When Will They Shoot?» 1992 Kenny G: «The Joy of Life» 1992

8 Pirates of the Mississippi: «Feed Jake» 1990

9 Now I lay me down to sleep, I pray the Lord my soul to keep. If I die before I wake, I Feed pray Jake the Lord my soul to take.

10 4 eksempler Pirates of the Mississippi: «Feed Jake» 1990 Metallica: «Enter Sandman» 1991 Ice Cube: «When Will They Shoot?» 1992 Kenny G: «The Joy of Life» 1992

11 Metallica: «Enter Sandman» 1991 Now I lay me down to sleep, I pray the Lord my soul to keep. If I die before I wake, I pray the Lord my soul to take.

12 4 eksempler Pirates of the Mississippi: «Feed Jake» 1990 Metallica: «Enter Sandman» 1991 Ice Cube: «When Will They Shoot?» 1992 Kenny G: «The Joy of Life» 1992

13 Ice Cube: «When Will They Shoot?» 1992 Samples fra Queen, The Watts 103rd Street Band og X-Clan

14 4 eksempler Pirates of the Mississippi: «Feed Jake» 1990 Metallica: «Enter Sandman» 1991 Ice Cube: «When Will They Shoot?» 1992 Kenny G: «The Joy of Life» 1992

15 I am arguing for a more anthropological conception of culture in popular music studies, a stronger sense of history (...), and a conception of analysis that is self-reflexive about methods and goals, tactical rather than absolute, less interested in describing or legitimating than in understanding how music works and why people care about it. Walser 2004:38

16 Our commitment should be not to a certain set of methods, but rather to investigating music as something people do, something that they are enabled to do by the set of conventions and possibilities we call culture. Walser 2004:38

17 Roy Shuker (2008): Message Understood? Musical Texts Kap. 5 i «Understanding Popular Music Culture» TEXTUAL ANALYSIS GRAPHIC TEXTS: ALBUM COVER ART MUSICOLOGY AND POPULAR SONG WHY DO SONGS HAVE WORDS? Stand by your lyric A spoonful of drugs? Patriotism and irony in the USA THE POETRY OF ROCK, SONG AND SOCIAL REALISM LISTENING TO POPULAR SONG Sex Pistols, Anarchy in the UK (EMI, UK, 1976) MUSIC VIDEO Reading music video Duran Duran, Hungry Like the Wolf (music video, director: Russell Mulcahy, 1981) Madonna, Justify My Love (music video, director: Jean-Baptiste Mondino, 1990) Nelly, Tip Drill (music video, director: Benny Boom, 2005)

18 Jan Sverre Knudsen (2008): Glatte gater: Musikkproduksjon i et urbant ungdomsmiljø i M. Krogh og B. S. Pedersen (red.) Hiphop i Skandinavien. Aarhus Universitetsforlag. Introduksjon Minoritet1 Glatte gater Musikkproduksjon Beaten Teksten Språk Forskjeller og fellesskap Mellom det lokale og det global

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20 Dadi, Jasin og Jan Sverre Knudsen

21 Tim Wall (2003): «Studying Popular Music Culture» 1. Histories 2. Industries and Institutions 3. Form, Meaning and Representation 4. Audiences 5. Case studies and Conclusions

22 Part 3. Form, Meaning and Representation 8. Form 9. Meaning 10. Representation

23 Kap. 9. Meaning What do we mean by meaning? Analysing popular musical meanings Performance INSTRUMENTATION VOCAL STYLE RECORDING TECHNIQUES Case Study: James Brown s Super Bad (1971) Metatext THE MUSIC PRESS POP VIDEOS Case Study: Top of the Pops, Night Fever and Later with Jools Holland Genre Case Study: Contemporary Dance Music Genre

24 What do we mean by meaning? Hvordan er musikken betydningsfull? When we talk about musical meanings our discussions encompass how the music makes us feel, how we categorise it, how we associate places or moments with particular songs or styles, how we value it, how we relate collections of tracks to an artist or a group of musicians, and how we understand certain music as being significant in our lives and our relationships with other people. Wall 2003: 134

25 Philip Tagg (2000): Analysing Popular Music. Theory, Method, and Practice Kap. 3 i Richard Middleton (red.): «Reading Pop. Approaches to Textual Analysis in Popular Music» Popular Music Analysis Why? Musicology and Popular Music Research Musical Analysis and the Communication Process Popular Music, Notation, and Musical Formalism Affect Theory and Hermeneutics The Semiology and Sociology of Music An Analytical Model for Popular Music Methodological Paradigm for Popular Music Analysis Hermeneutic-Semiological Method Ideological Critique Analysing Subcultural Music Codes in Industrial Society Popular Music Analysis Its Uses

26 Analysing popular musical meanings Performance INSTRUMENTATION VOCAL STYLE RECORDING TECHNIQUES Case Study: James Brown s Super Bad (1971) Metatext THE MUSIC PRESS POP VIDEOS Case Study: Top of the Pops, Night Fever and Later with Jools Holland Genre Case Study: Contemporary Dance Music Genre

27 Instrumentasjon, vokalstil, opptaksteknikker

28 Analysing popular musical meanings Performance INSTRUMENTATION VOCAL STYLE RECORDING TECHNIQUES Case Study: James Brown s Super Bad (1971) Metatext THE MUSIC PRESS POP VIDEOS Case Study: Top of the Pops, Night Fever and Later with Jools Holland Genre Case Study: Contemporary Dance Music Genre

29

30 Donkeyboy: Ambitions (2009) Ref.: «Fight Club», «Donnie Darko», m.m.

31 Donkeyboy: Ambitions (2009)

32 Case Study: Top of the Pops, Night Fever and Later with Jools Holland

33 Analysing popular musical meanings Performance INSTRUMENTATION VOCAL STYLE RECORDING TECHNIQUES Case Study: James Brown s Super Bad (1971) Metatext THE MUSIC PRESS POP VIDEOS Case Study: Top of the Pops, Night Fever and Later with Jools Holland Genre Case Study: Contemporary Dance Music Genre

34 Sjanger - kategorisering Hvordan er musikalske og ikke-musikalske aspekter avgjørende i diskusjoner om sjangertilhørighet. Hva former musikalske valg innen en sjanger? Hvordan dannes nye sjangere? Hvilke typiske sjangertrekk kan brytes - hvilke kan ikke brytes? Hvordan bestemmes sjangertilhørighet valg av image/ klesstil, instrumenter, spillesteder, plateselskap, osv.

35 Case Study: Contemporary Dance Music Genres House Acid house Chicago house Deep house Disco house Dream house Electro house Euro house Fidget house French house Freestyle house Ghetto house UK Hard house Hip house Italo house Latin house Minimal house/ Microhouse Progressive house Scouse house Swing house Tribal house Tech house

36 Case Study: Contemporary Dance Music Genres Ishkur's Guide To Electronic Music

37 Kap. 10. Representations How music performers become pop stars and how they represent Stars as individuals Case Study: Bruce Springsteen Star-making Representing identity

38 Representasjon (uttrykk fra media- og kommunikasjonsstudier): Hvordan representerer media verden? Hvor sannferdig er medias representasjon av verden? Hvilke ideologiske posisjoner om verden fremmes av en representasjon?

39 Wall: Populærmusikk favner både en auditiv og en visuell representasjon Hvordan virker visuelle og auditive uttrykk sammen til en helhetlig representasjon av musikk?

40 Björk: «Hidden Place» fra Björk: Vespertine Live at Royal Opera House (2002)

41 Wall: Mindre viktig å spørre om det gir en sannferdig representasjon av artisten - viktigere å spørre: Hvordan artikuleres noe betydningsfullt? Hvordan appellerer artisten til sine fans? Hvor er kodene som danner mening hentet fra?

42 Case Study: Bruce Springsteen Simon Frith (1988): «The Real Thing: Bruce Springsteen» i S. Frith: Music for Pleasure: Essays in the Sociology of Pop. Polity Press.

43 Bruce Springsteen: «I m on Fire» 1984

44 Hvordan konstrueres et pop-image?

45 Hvordan konstrueres et pop-image? Teaser for Willow Smith: «Whip My Hair» (2010)

46 Hvordan konstrueres et pop-image? Willow Smith: «Whip My Hair» (2010)

47 Representasjon av identitet Betydningsfullt for tilhørere i form av å være identitetsskapende faktorer. kjønn - seksualitet rase - etnisitet

48 Kulturell identitet: Hvordan vi forstår eller oppfatter oss selv i forhold til andre.