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Culture- and Industry Studies

Culture- and Industry Studies. Introduction to the course ; What is the concept of ” rhythmic music ”?. M-exchange students 30.10.13. Culture- and Industry Studies. Goals and requirements . - Knowledge of Danish and Nordic music and culture industry .

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Culture- and Industry Studies

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  1. Culture- and Industry Studies

    Introduction to the course; What is the concept of ”rhythmicmusic”? M-exchange students 30.10.13
  2. Culture- and Industry Studies Goals and requirements. - Knowledge of Danish and Nordic music and cultureindustry. - Criticalconcepts of thinkingaboutmusic and musicculture. Essay due December 9th.
  3. Courseoverview 30.10: Introduction; and what is the concept of "rhythmic music"? (Mikkel) 06.11: Popular music in Denmark and the Nordic countries I (Henrik) 13.11: The music industry in Denmark and the Nordic countries (Torben) 20.11: Popular music in Denmark and the Nordic countries II (Mikkel) 27.11: Popular music in Denmark and the Nordic Countries III/preparations for essay assignment (Mikkel) 29.11: Seminar on Nordic identity in popular music
  4. Music and culture A (general) model for analysis:
  5. ”Rytmisk musik”? “We offer the highest education in the country in rhythmic contemporary music, a term that encompasses forms of music from jazz over rock and pop to the newest musical kinds of expression, like hip hop and electronica. Furthermore, our task is to research in and develop our field and contribute to the promotion of music culture in Denmark.” http://www.rmc.dk/om_konservatoriet/ (visited 04.09.13, my translation)
  6. ”Rytmisk musik”? A Danish concept. (You do not have ”rhythmic music”, ”rytmischeMusik” or ”musiquerythmique”). ”It can only be translated indirectly, e.g. as the more ’serious’ ot ’authentic’ part of popular music.” (Michelsen 2001, s. 26; my trans.) Function of dicotomy: Rhythmic >< classical; and division between ”serious” popular music and entertainment music. The concept is used as a way of legitimising the music. Destabilising (or reproduction?) of the highbrow/lowbrow dicotomy (high art/bourgeois >< mass culture).
  7. ”Rytmisk musik”? Highbrow/lowbrow in 20th Denmark: “I do not per se have anything against e.g.jazz music, when it just is at the right place and the right moment. Another thing is, I think, that jazz music will wither and die by itself. For it has no content, and it has no roots in our culture. It is dangerous when it spreads and gains power, so people will not wish to listen to anything else. [...] But one must consider jazz music as a very little part [of modern music], that must remain in place! It is spreading and will settle as putrefying bacteria in higher music. Against this process all musicians, both conservative and the most progressive, will react.” (Carl Nielsen 1925; my translation) ”Classicalmusic is simply more complex and demands more thoughtthanrhythmicmusic.” (college at DR to MV) Examples from yourexperience?
  8. ”Rytmisk musik”? Roots in ”culturalradicalism” in 20ies and 30ies: Jazz reception: Mix of ideas of modernity and (ethnic/cultural) origin. Musiceducation: B. Christensen, Sv. Møller Kristensen (”Rhythmicmusic is amongotherthings primitive music, jazz, often folk music and compositions for children.” (1938; my trans.)), and Astrid Gøssel (”Ourdematerialised, bloodless, abstractmusic is thirsty for the lush, bloodfilledbody of negro jazz, itscorebeing the flowing, rhythmicsoundingmaterial.” (1930; my trans.)) B. Christensen (1983)
  9. An example of culturalradicalism PH: “Her mind’s repertoire seems inexhaustable. If we admire a branch, a deer, a lake, it is called pleasure of nature [Naturglæde]. Why must it then be a sign of perversity in our time, when we are uplifted in the meeting with a deeply natural human being?” (1928) http://www.youtube.com/watch?v=wmw5eGh888Y
  10. ”Rytmisk musik”? ”Rytmisk musik” defined as the ”real”, ”pure” jazz (ie. black). Jazz is theorised and aesthicised. Becomes art. At the same time the contrast to Western art music is stressed. (”Bad” popularmusic is denounced as mere entertainment (Kristensen 1937).) Fifties: Intellectuals distance themselves form ”culturalradicalism”. Instead arguments of modernism and musical autonimy is used (jazz as l’artpourl’art). Fifties/sixties: Rock’n’roll, pop, ”pigtråd” and beat. Againstmassculture: ”Wemeet pop all day long. It is speadthrough radio and tv, via weeklies and papers, via cheapbooks and magazines; strong powers of capital and syndicatsarebehind it – and in reality it is a giantindustry, which in the long run is dangerous, because it poisonsour mind.” (Bækkelund, 1964; my trans.) But alsoexamples of bridging the gap (but only the best ”beat music” is goodenough).
  11. ”Rytmisk musik”? Seventies: The concept of ”rytmisk musik” returns. Fusion: Experimental jazz and ”good” beat united (e.g. http://www.youtube.com/watch?v=zy3vomk2eww) … a term thatspansboth is needed. The ”alliance” between beat and jazz:”Jazz and rock has approachedeachother […] nearly all rhythmixmusic [has] become a middlegroundarea.” (Rytmisk musik – historie, miljø og vilkår, 1978; my trans.) ”Rytmisk musik” is now a parallel to ”classical”. An art form likeclassical, but different. Independent discourse of ”rytmisk musik”.
  12. ”Rytmisk musik”? Institutionalising: The music law 1973 (rev. 1981, 1985 and later): ”Rytmiskmusik” is used as a concept towards eg. politicians with regards to policy and subsidies. (Attempts at definition. Eg. Ole Mathiessen style/essentialism; or Meyer culturally, ”rytmisk” >< ”international spekulationsmusik [music of speculation]”). RytmiskMusikkonservatoriumog rhythmic basis ensembles (”The strength of the Danish concept of “rytmiskmusik” is it collective [samlende] character.” (Slumpstrup & Malmros, 1985; my trans.).) Interest groups/organizations: DJBFA, FAJABEFA, ROSA etc. De rytmiskevækstlag. Rapport med anbefalinger, (Kulturministeriet, 2007) Styrkelseaf den rytmiskemusik, (Kulturministeriet, 2010) [probably best definition of the concept]
  13. ”Rytmisk musik”? Read more: Michelsen, M.: ”’Rytmisk musik’ mellem høj og lav”, Musik & Forskning 26 (2001), s. 62-81 Pedersen, Peder Kaj: ”’RhythmicMusic’ in Danish Education”, (conferencepaper, LeadingMusicEducation International Confernece, London, 2011)
  14. Similarconcepts Germany: E-Musik: Ernste Musik, seriousmusic. U-Musik: Unterhaltungsmusik, entertainmentmusic, popularmusic. F-Musik: Funktionsmusik (Gebrauchsmusik), functionalmusic
  15. Questions of culturalhierarchies Howareculturalhierarchiesconstructed and constituted in yourhomecountries? Culturalhierarchies in global popularmusic? Power relations in the musicindustry? Signs of high art in popularmusic? Divisions within the field of popularmusic?
  16. Ideas for essay assignment
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