Musiksociologi

1. Musiksociologi MM2 04.10.12 ”Black music”, diaspora, ”Black Atlantic”, og sagen reggae Hvordan kan vi definere ”sort musik” og dens betydning?

2. ”Black music” Hvordan kan vi definere ”sort musik”? - Stil? - Biologi? - Historie? Kan man tale om ”hvid” musik? Og bør vi overhovedet tale om ”sort” musik?

3. Anti-essentialisme, Tagg (1989) Traditionelt set identificerer man følgende som karakteristisk for afro-amerikansk/sort musik: • Blå toner, blues. • Call-and-response. • Synkoperinger. • Improvisation. (NB. Ingen af disse er eksklusivt afro-amerikanske) Tagg, man bør være skeptisk overfor en kategorisering af ”sort” musik: • Der findes ingen overbevisende, definitive musikvidenskabelige definitioner. • Ideologisk set tillægger kategorien bestemte værdier til en bestemt race. Bør vi helt holde op med at tale om ”sort” musik?

4. What’s in a name? Et aktuelt eksempel: Nicholas Payton og BAM-debatten. ” Jazz ain’t cool, it’s cold, like necrophilia.” (Payton: http://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore/, tilgået 03.10.12) “If not the J-word then what would be the appropriate title for this music? I came up with Black American Music […]” “It’s just recognizing where it comes from. Every culture has music that is indicative of their experience that they celebrate. Why black people aren’t afforded that same identity with the music? I think it’s a problem of black people not being looked at as American to some degree and not being able to own anything without others feeling they have a right to co-op it.” “He said BAM is just a terminology. Nothing is just a terminology. We speak and think in words. Everything we do is connected to a word.” (Interview med Payton: http://irockjazz.com/2012/02/nicholas-payton-plays-bam-not-jazz/, tilgået 03.10.12)

5. What’s in a name? Et spørgsmålomstil: “Blues idiom music would be my preferred term, since the "black" in Black American Music can too easily be thought of in terms of race, which, as I've said in earlier columns, is too often confused with culture.” (Greg Thomas: http://www.allaboutjazz.com/php/article.php?id=41221&pg=2#.UGwETpj4UY0, tilgået 03.10.12) Et sprøgsmålom genre: “I agree with the reasons for it, I understand the reasoning for it. I don't agree with the name. I don't agree, actually, with the way he's going about trying to change the name right now. I don't agree with the name because it's too wide-ranged. Too many genres fit under Black American Music.” Interview med R. Glasper: http://www.nextbop.com/blog/relevanttohistimeaninterviewwithrobertglasper, tilgået 03.10.12) Et spørgsmålomhistoriebevidsthed: “If you're going to do an article in a food magazine on the best Italian cooks across the world, I think it would be disrespectful and audacious to have four black chefs on the cover. Throw an Italian cook up there; if you grew up with Italian cooking and it's in your heart, I can tell. The same thing is happening with jazz: You put four pianists on the cover of a magazine headlined 'Jazz Piano Today' and none of them are African-American? That's just disrespectful to the art form.” (Interview med Orrin Evans: http://www.citypaper.net/music/2012-01-26-pianist-orrin-evans-black-american-music.html, tilgået 03.10.12)

6. Diaspora Oprindeligt den jødiske diaspora (f.eks. i Egypten, i Babylon, senere de sefaridiske eller ashkenaziske jøder) I dag: En gruppe der er spredt uden for dens oprindelige hjemland/-sted. (Der kan skelnes mellem ”stedslig”/konkret diaspora, og historisk/tidslig/forestillet diaspora.) F.eks. diasporiske kulturer i Danmark:

7. The Black Atlantic “The specificity of the modern political and cultural formation I want to call the Black Atlantic can be defined, on one level, through [a] desire to transcend both the structures of the nation state and the constraints of ethnicity and national particularity. These desires are relevant to understanding political organizing and cultural criticism. They have always sat uneasily alongside the strategic choices forced on black movements and individuals embedded in national and political cultures and nation-states in America, the Caribbean, and Europe.” (Gilroy 1993, s. 19) Gilroy trækkerpå: - W.E.B. DuBois’ begreb “double consciousness”. - LeroiJones/AmiriBarakas begreb ”the changing same”.

8. Anti-anti-essentialisme, Gilroy Sort musiks politiske betydning, anti-kapitalistisk: • Kritik af produktivisme, arbejde og arbejdsdeling under kapitalismen. • Kritik af staten, med fokus på magtforhold, undertrykkelse, brutalitet, militarisme og ekstremisme. • Tro på historiens betydning. Som modvægt til modernitetens historieløshed. Anti-anti-essentialisme: • Der findes ingen biologiske, naturlig kerne i ”sort musik”. • … dette betyder ikke, at man ikke kan tale om ”sort musik”. • Sort kultur kan findes i sociale praksisser og definitioner, politiske forhold. (gode citater, næste dias)

9. Anti-anti-essentialisme, Gilroy ”[…] thischapter offers a tentative rebuke of thatorthodoxy [anti-essentialism] which I regard as premature in itsdismissal of the problem of theorisingblackidentity. I suggestthatweighing the similarities and differences betweenblackculturesremains an urgentcencern.” (Gilroy 2006, s. 180) ”Black identity is not simply a social and politicalcategory to beusedorabandonedaccording to the extent to which the rhetoricthat supports and legitimises it is persuasiveorinstitutionallypowerful. Whatever the radicalconstructionistsmaysay, it is lived as a coherent (if not always stable) experientalsense of self.” (ibid., s. 185)

10. Gilroys eksempler The Fisk UniversityJubilee Singers. Al Jolson synger ved minstrel show i film, i blackface: http://www.youtube.com/watch?v=nhavaXOynO8 Fisk Jubilee Singers i Carnegie Hall, 2009: http://www.youtube.com/watch?v=tIf8EV_04Yg Historisk optagelse med Fisk Jubilee Singers: http://www.youtube.com/watch?v=naFcHO9KBnQ

11. Gilroys eksempler Jimi Hendrix. Live, sort autenticitet eller neo-minstrelsy?: http://www.youtube.com/watch?v=19acKoKWdig

12. Gilroys eksempler ”Proud of Mandela”. http://www.youtube.com/watch?v=JyKvltgVg5k Afrika i Chicago i Caribien i Storbritannien i Sydafrika (i verden)

13. Race og hip-hop Hip-hop generelt (Longhurst 2007, s. 136-37 efter Rose [1994]): • Den sociale og geografiske sammenhæng. • Relation til/udvikling af traditioner i ”sort” kultur. • Teknologiens rolle.

14. Race og hip-hop Det kanoniske eksempel på raceideologi og politik i hip-hop: Elvis was a hero to most But he never meant shit to me Straight up racist That sucker was simple and plain Mother fuck him and John Wayne 'Cause I’m black and I’m proud I’m ready and hyped plus I’m amped Most of my heroes don’t appear on no stamps

15. Race og hip-hop To synspunkter (der ikke nødvendigvis udelukker hinanden): • Stærk forankring i sted/by/lokalt område/”hood”. Stærk forankring i afroamerikansk etnicitet/autenticitet. Modstand overfor fremmed kultur (f.eks. East-/Westcoast) og sort seperatisme. • Dialog mellem racer/etniciteter. Mulitkulturel og transnational.

16. Race, etnicitet og hip-hop En glokal musikform? MC Solaar: http://www.youtube.com/watch?v=-n8kGW16RYs MIA: http://www.youtube.com/watch?v=HBECisSkAu4 Waqas: http://www.youtube.com/watch?v=jjimr-WhA38 Jokeren: http://www.youtube.com/watch?v=NpkXu-qd5Rs Hime: http://www.youtube.com/watch?v=OUcQUBnzpjk