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Kategorisering Og Hierakisering Af Genrer Indenfor World Music I Danmark

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Kategorisering Og Hierakisering Af Genrer Indenfor World Music I Danmark KATEGORISERING OG HIERAKISERING AF GENRER INDENFOR WORLD MUSIC I DANMARK Specialeafhandling efterår 2013 Jannie Holmbo Pihl Kategorisering og hierarkisering af genrer Indenfor World Music i Danmark Af Jannie HolmBo Pihl Vejledt af Helle Bach Riis Kultur og Sprogmødestudier Roskilde Universitet, efterår 2013 Afhandlingen indeholder 184.133 anslag - svarende til 77 normalsider Bilag kan findes i Appendiks 2 ”Many academic commentators have since observed that while ”world music” sounds like an inclusive term it is, systematically exclusive. Timothy Taylor, just to give one example, draws our attention to the exclusion of Cantopop and karaoke from World Music: The Rough Guide. But given the rock origins of world music this is hardly surprising. Indeed, as a rock critic in the late 1980s on most world-music mailing lists, I was always more aware of the authenticity claims of the music sent to me than of it’s exoticism. The difference at stake wasn’t between Western and non-Western music but, more familairly, between real and artificial sounds, between the musically true and the musically false, between authentic and inauthentic musical experiences. As the back cover blurb of the book of the 1989 BBC TV series Rhythms of the World put it: ”During the late 1980s, rock and pop have become increasingly predictable and nostalgic and an appetite has developed for stronger stuff”.” (Frith 2000: 306) 3 Indholdsfortegnelse KAPITEL 1) INDLEDNING ....................................................................................................................6 Motivation................................................................................................................................................................6 Problemfelt...............................................................................................................................................................7 Problemformulering ........................................................................................................................................... 10 Arbejdsspørgsmål................................................................................................................................................................. 10 Begrebsafklaring ................................................................................................................................................. 10 World Music-begrebet........................................................................................................................................................ 11 Autenticitet og ’Verdensmusik’ ...................................................................................................................................... 12 World Music-feltet............................................................................................................................................................... 14 Genrer....................................................................................................................................................................................... 14 Hybriditet................................................................................................................................................................................ 15 KAPITEL 2) METODE .......................................................................................................................... 16 Valg af empiri....................................................................................................................................................... 16 Vægtning af empirien ......................................................................................................................................................... 16 Musikbooker og programplanlægger, Peter Hvalkof............................................................................................... 17 Spillestedet Global............................................................................................................................................................... 17 Sekretariatsleder for World Music Denmark (WMD), Flemming Herrev ........................................................ 18 Forskellen på World Music Denmark og spillestedet Global ............................................................................... 19 Projektleder, Jan Samuelsen............................................................................................................................................. 20 Afgrænsning af empiri ....................................................................................................................................... 20 Det kvalitative interview.................................................................................................................................... 21 Interviewguider..................................................................................................................................................................... 22 Transskription og meningskondensering...................................................................................................................... 23 KAPITEL 3) VIDENSKABSTEORI ................................................................................................... 25 Simon Frith........................................................................................................................................................... 25 David Huddart og Birgitta Frello .................................................................................................................... 25 Pierre Bourdieu ................................................................................................................................................... 27 Hans-Georg Gadamer ........................................................................................................................................ 28 Forståelsesbegrebets betingelser..................................................................................................................................... 28 Validitet, reliabilitet og generaliserbarhed.................................................................................................... 29 KAPITEL 4) TEORI ............................................................................................................................... 30 VOL. 1......................................................................................................................................................... 30 World Music – et kommercielt begreb ........................................................................................................... 30 Genre-begrebet .................................................................................................................................................... 32 Autenticitets-begrebet ........................................................................................................................................ 35 Musiketnologers definition af World Music-begrebet ................................................................................ 39 Hybriditetsbegrebet ............................................................................................................................................ 42 VOL. 2......................................................................................................................................................... 45 Bourdieu - Felt og Kapital................................................................................................................................. 45 Feltets struktur - Doxa og Illusio ..................................................................................................................... 46 Smag og Afsmag .................................................................................................................................................. 48 4 Hans-Georg Gadamer ........................................................................................................................................ 49 KAPITEL 5) DISKUTERENDE ANALYSE ..................................................................................... 51 Analysestrategi..................................................................................................................................................... 51 Kategorisering og hierarkisering af genrer................................................................................................... 52 ’Mavefornemmelse’ og ’god smag’.................................................................................................................. 61 Et spørgsmål om position .................................................................................................................................. 65 Det ’urbane kontemporære’ og det ’traditionelle’....................................................................................... 68 Hybriditet, ’renhed’ og ’autenticitet’.............................................................................................................. 73 KAPITEL 6) KONKLUSION................................................................................................................ 81 ABSTRACT............................................................................................................................................... 82 LITTERATUR.........................................................................................................................................
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