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Culture- and Industry Studies

Culture- and Industry Studies. M-exchange students 11.27.13. Globalisation. Repetition from last week. Nationalism. Repetition from last week. Nationalism , globalisation and music . Examples :. Examples from Weisethaunet (2007):

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Culture- and Industry Studies

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  1. Culture- and Industry Studies M-exchange students 11.27.13

  2. Globalisation Repetition from last week

  3. Nationalism Repetition from last week

  4. Nationalism, globalisation and music. Examples: Examples from Weisethaunet (2007): Grieg: http://www.youtube.com/watch?v=Rv6-Jc5De_w (GriegexpressesVolksgeist, cf. Herder) Mapfumo: http://www.youtube.com/watch?v=o-mw9U5Fq4g (Mapfumo’spopularityon the worldmarket stems from his local/nationalidentity. Alsosee the commentary.) Alpha Blondy: http://www.youtube.com/watch?v=DGS8l7gKGgc (The African diaspora returns to Africa) Gasolin’: http://www.youtube.com/watch?v=M9G047a5fEs (Danish language – international music…?) Garbarek: http://www.youtube.com/watch?v=UYhrNcuWUWA&playnext=1&list=PLA49C7DB469CFBB62&feature=results_video (Nordic exoticism?)

  5. Exoticism/orientalisme/postkolonialism Edward Said (1978) Our (Western) image of the Other’sculturerepresents it as: • An essentialism. • Static. • Undeveloped. Ourknowledge of the Other is not based in real knowledge, but onourimaginedideasabout the Other. (Wealsouseour power of defining the other in definingour selves.)

  6. Musik and place/space Vi tænker og taler i steder: • Mannheim rocket. • Paris symphonies. • Alla turca. • Britpop. • Memphis soul. • New York Jazz. • K-pop. Canwehearplaces? Cities, landscapes… http://www.youtube.com/watch?v=NUysiCX-XZQ Soundscapes.

  7. Music and place Stokes(1994): ”Musik and dance […] do not simply ’reflect’. Rather, theyprovide the means by which the hierarchies of placearenegotiated and transformed. […] Musik does not simplyprovide a marker in a prestructered social space, but the means by whichthisspacecanbetransformed.” http://www.youtube.com/watch?v=qAY_o36paQ0

  8. Essay assignment Due: December 9th (to be sent to mikkelvad@rmc.dk) Individualassigment. 1-2 pages. Grading: pass/fail. Must show reflexion/analysis/argumetationregarding problem in musicculture. Canbebased in ownexperiencesor in a more general case. The topic must berelated to the problems and examples of thiscourse.

  9. Starting up… Pitch and norrowing of idea. In pairs: 1. Explain to eachother: • Topic/case? • What problem? • What kind of questions? • Howwilyoudescribe, explain and interpret? (Take notes and give a summary of eachothers’ ideas) 2.Writedown: • Topic. • Corequestion. • Idea for title.

  10. Evaluation • Good elements? • Lessgood elements? • Suggestions? • ?

  11. From MV’s own research Carl Nielsen in the Jazz Repertoire: The Search for a (Trans)National Vernacular in Danish Jazz. Mikkel Vad Carl Nielsen: Inheritance and Legacy. November 4th 2011 Institut for Kunst- og Kulturvidenskab, Afdeling for Musikvidenskab

  12. A transnational, glocalmusic Nielsen’s ”folkelige” songs: • Communal singing, national romantic ideology and Grundtvig • Schulz: “Schein des Bekannten” • Nielsen was Signifyin(g) upon a tradition and repertoire. Vernacular repertoire in Scandinavian jazz: • Ca. 1950- • Johansson: Jazz påsvenska (1964) • NHØP/Drew: Duo (1973) • Vernacularmaterial in jazz. One genre Signifyin(g) upon another.

  13. A transnational, glocalmusic Primarily the “folkelige” songs. • Part of a living tradition. • Melody and form: Jazz improvisation. Earliest example: • Erik Moseholm Trio (1961): “Jens Vejmand” (arr. F. Savery) Boom in recordings since mid-nineties. • (All in all more than 50 albums with almost 100 recordings of Nielsen’s music. See discography.)

  14. A transnational, glocalmusic Emancipation from America and Danish nationalism? or Double-voiced intertextuality. • Signifyin(g) across the Atlantic: The double traditions of Nielsen and jazz • Signifyin(g) the glocal: local/national and the global, and the past and present Intertextuality and dialogue: • Repetition and revision of musical tropes • Differences extends and tropes figures

  15. From MV’s own research Scandinavian Elegies:The Mohammad Drawings, Self-Censorship and Identity.The Case of JomiMassage’sSkandinaviske klagesange Mikkel Vad RhythmicMusicConservatory Danish Broadcast Corporation

  16. The cartooncrisis Three interpretations/discourses: • Self-censorship, freedom of speech • The ”clash of civilisations” • Danish politics and identity.

  17. The album Jomi Massage møder DR Big Band og Lars Møller, sammenfremfører de en rækkeskandinaviskeklagesange JomiMassage meets the DR Big Band and Lars Møller, together they perform a number of Scandinavian Elegies It starts with a wish to stir things up, to throw a couple of creative souls into each other’s arms, to smash some genre boundaries. From the realization that music always should be fed with new questions, so new conversations can flourish. From the idea that a conclusion is the place you reach when you cannot bother to think any further. Liner notes, Christensen (2006)

  18. The cover art

  19. The cover art

  20. The cover art Woman from Læsø, Dragtjournalen 3 (2008), p.120

  21. The cover art Some people get associations to a burqa and some think it looks like a ghost costume. In the design itself I get recollections of 70’s children’s television. The point was that it should create some confusing signals, so you are not entirely sure who gets crossed. Wille-Jørgensenquoted from FyhnChristensen (06.17.2006) I had the burqa made because my songs have a slight political, accusatory touch […].I needed to make a stop and consider if the burqa might overshadow the message. I was afraid that it only would become a simplified provocation […]. Wille-Jørgensenquoted from AhnPedersen (2008)

  22. Postponing the release Fear, and the division of image and music: […] with the atmosphere and the climate we currently have, images are too easily left standing alone and people look at them and judge on that basis. And I do not want, when I have made such a nuanced work, as I think I have, to let the image stand for itself. Questions of self-censorship: To me, this case [postponing the release of the cover] is not about pleasing anyone or about self-censorship. It is about taking this particular moment serious and find out how best to engage in dialogue, exactly so it will not become a two-sided war, so it will not become a war of cultures; where people are throwing different images of flags after one another… or burning them […]. I am doing it exactly because I feel this is how I can speak up and use my freedom of speech in the best way. Wille-Jørgensen, interview inKulturnyt (DR, 2006)

  23. Postponing the release Danish politics and the ”clash of cultures”: [The images may] trouble sensitive Muslim souls. At the same time it mayalsotrouble sensitive Danish nationalist souls. Christensen quoted in Hygum-Sørensen (2006)

  24. Concludingremarks ”Things to thinkwith.” Klausen (2009) Self-censorship: - Postponing the album. - Difference from Jyllands-Posten’sidea of freedom of speech. - Theme in the reception. - Usingfreedom of speech in a responsibleway. • 2. ”Clash of Civilisations”: • Inaccuratedualism. • … but a discourse of the cartooncrisis. • Globalisation and transnational dialogue. • Meeting the unknown/”other” • 3. Danish politics and identity: • Skandinaviske klagesange as political statement. • Danish and Muslim symbols. • Nationality, multiculturalism, transnationality.

  25. Signe HøirupWille-Jørgensena.k.a. Jomi Massage donates ”burqa” to Danish Rock Museum, 2008

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