Att Definiera Och Skilja På Snarlika Subgenrer

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Att Definiera Och Skilja På Snarlika Subgenrer Högskolan Dalarna Examensarbete Akademin för språk och medier Ljudproduktion, fördjupningskurs 30 hp Ht 2012 Att definiera och skilja på snarlika subgenrer Tillämpat på death- och black metal Handledare: Sören Johansson Författare: Elvira Björnfot Examinator: Jacob Derkert Abstrakt Det är svårt att sätta ord på vad man menar när man pratar om musik. Jag är intresserad av varför det sällan går att finna definitioner av genrer när diskussionen om dem är så stark, speciellt när det gäller snarlika genrer som troligtvis är uppdelade av en eller flera anledningar. Syftet med min undersökning är att utveckla vidare kunskap om vilken betydelse det har att skilja på två snarlika subgenrer inom samma metagenre. Jag undersöker därför hur två snarlika genrer definieras och jämför dem sedan och prövar om det är av betydelse att undersöka flera aspekter av en musikgenre. Tidigare forskning föreslår att den musikaliska stilen borde undersökas likväl som kulturen och andra aspekter. En stark diskussion pågår just inom heavy metalscenen om subgenrerna inom den, därför undersöker jag subgenrerna death- och black metal. I denna undersökning använder jag Fabbris mall för genredefinition, där undersöks formella och tekniska regler, semiotiska regler, regler för beteende, sociala och ideologiska regler samt ekonomiska och juridiska regler. Reglerna har jag undersökt genom att lyssna på fonogram, titta på videoinspelningar av liveframträdande och publik samt hur aktörer inom scenerna beter sig när de inte är på scen. Jag har även analyserat låttexter och använt mig av diverse litteratur och dokumentärfilmer. Mitt resultat visar att det finns betydande anledningar till att skilja på death metal och black metal trots att de musikaliskt liknar varandra. Innehållsförteckning INLEDNING ....................................................................................................................................................... 1 BEGREPP ........................................................................................................................................................... 1 SYFTE ................................................................................................................................................................. 3 HYPOTES ............................................................................................................................................................................. 3 FRÅGESTÄLLNINGAR .................................................................................................................................... 3 AVGRÄNSNING ................................................................................................................................................ 4 TIDIGARE FORSKNING ................................................................................................................................. 4 TEORI .............................................................................................................................................................. 10 METOD ........................................................................................................................................................... 11 GENREDEFINITION ..................................................................................................................................... 16 HEAVY METAL .................................................................................................................................................................. 16 DEATH METAL .................................................................................................................................................................. 19 Formella och tekniska regler ................................................................................................................................ 20 Semiotiska regler ....................................................................................................................................................... 28 Regler för uppförande .............................................................................................................................................. 33 Sociala och ideologiska regler .............................................................................................................................. 36 Ekonomiska och juridiska regler ......................................................................................................................... 40 BLACK METAL .................................................................................................................................................................. 42 Formella och tekniska regler ................................................................................................................................ 43 Semiotiska regler ....................................................................................................................................................... 49 Regler för uppförande .............................................................................................................................................. 54 Sociala och ideologiska regler .............................................................................................................................. 59 Ekonomiska och juridiska regler ......................................................................................................................... 64 SAMMANFATTNING - SKILLNADER MELLAN DEATH METAL OCH BLACK METAL ................................................. 66 RESULTATANALYS - MENINGEN MED SEPARATA SUBGENRER ................................................... 69 AVSLUTANDE DISKUSSION ...................................................................................................................... 70 LITTERATUR- OCH KÄLLFÖRTECKNING ............................................................................................. 72 KÄLLOR ............................................................................................................................................................................. 72 LITTERATUR ..................................................................................................................................................................... 76 Elvira Björnfot Att definiera och skilja på snarlika subgenrer 2013 Inledning Den klingande musiken och ljud- eller musikproduktion är något som ofta fokuseras på vid genrebeteckning inom ämnet musikproduktion. Det kan dock vara så att även andra aspekter måste undersökas för att förstå musiken och produktionen i förhållande till en musikgenre. Det kan även vara de andra aspekterna som avgör vad som skiljer en musikgenre från en annan. En genrebeteckning är ofta något som pratas om utan vidare eftertanke, både i media och i vardagligt samtal försöker det förmedlas vad som menas genom att benämna en genre men medverkande i samtalet vet ibland inte vad det är eller bryr sig heller inte om genrens innehåll. Lars Lilliestam skriver: ”Om vi enas om en betydelse eller tolkning har vi inget att diskutera längre och måste söka ett nytt ämne. Kunskapen och åsikterna om musik blir alltså till ’samtalsvaluta’, som blir en social tillgång genom att man kan diskutera och samtala om dem, kanske utan att komma överens.”1 Det går inte att göra alla nöjda och därför tror inte jag mig göra någon slutgiltig definition av death metal eller black metal, utan istället få fram vilka typiska drag och generiska regler subgenrerna innehåller utifrån det tillvägagångssätt jag har valt för att på ett tillförlitligt sätt kunna jämföra de två subgenrerna. Begrepp Musikstil och musikgenre Lilliestam beskriver skillnaden mellan musikstil, musikgenre och musikvärld som är vanliga begrepp att använda inom musikvetenskapen. Med musikalisk stil menas då den klingande musiken så som den låter och den kan analyseras med musikteoretiska verktyg. En musikalisk genre är ett vidare begrepp än stil då även visuella koder, textinnehåll, beteenden 1 Lilliestam, Lars 2001. En dödsmetall-hardcore-hårdrocksgrej, det är jättesvårt att förklara: göteborgska gymnasister tänker och talar om musik. (Skrifter från institutionen för musikvetenskap, Göteborgs universitet, nr 69.) Göteborg: Institutionen för musikvetenskap. Göteborgs Universitet, s104 1 Elvira Björnfot Att definiera och skilja på snarlika subgenrer 2013 med mera infaller under termen. Musikvärld är ett begrepp som är myntat av Ruth Finnegan men anammat av Howard S. Beckers konstvärld. En musikvärld är då ett bredare begrepp än genre, där inkluderas bland annat deltagarnas värderingar, deras gemensamma uppfattningar, sättet att producera musik och hur den sociala organisationen är vid musikaliska aktiviteter. Musikalisk praxis, handlingar och konventioner räknar alltså in i termen.2En problematik med dessa begrepp i relation till Fabbris upplägg för att definiera en genre är att musikstil, musikgenre och musikvärld inkluderas i undersökning om vad en genre är. Enligt denna definition av begreppen skulle musikvärlden inte behöva has i åtanke vid definition av en genre vilket Fabbri menar på att den bör (utan att använda den termen). Lilliestam argumenterar att vissa musikvärldar bör delas upp i flera olika såsom ”rock och pop” och jazz från Göteborg kontra Milton Keynes.3Blir det då inte det som brukar kallas en musikgenre om det smalas av ännu mer? Jag kommer följaktligen inte använda begreppet
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