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Musikgeschmack” Taren-Ida Ackermann Disliked Music Merkmale, Gründe und Funktionen abgelehnter Musik kassel university press TarenTarenTaren-Taren---IdaIdaIdaIda AckermannAckermannAckermann Disliked Music Merkmale, Gründe und Funktionen abgelehnter Musik kassel university press Die vorliegende Arbeit wurde vom Fachbereich Humanwissenschaften der Universität Kassel als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Gutachter: PD Dr. Julia Merrill Prof. Dr. Jan Hemming Tag der mündlichen Prüfung: 3. Mai 2019 Das e-book ist lizenziert unter einer Creative Commons Namensnennung - 4.0 International Lizenz. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Zugl.: Kassel, Univ., Diss. 2019 ISBN 978-3-7376-5088-5 DOI: http://dx.medra.org/10.19211/KUP9783737650885 URN: https://nbn-resolving.org/urn:nbn:de:0002-450887 © 2019, kassel university press GmbH, Kassel www.upress.uni-kassel.de Printed in Germany Inhaltsübersicht 1. Einleitung ...................................................................................................................... 1 2. Literaturüberblick: “Disliked Music” bzw. Abgelehnte Musik .................................... 5 3. STUDIE I: Fragebogenstudie “Musikgeschmack” ....................................................... 77 4. STUDIE II: Interviewstudie “Disliked Music” ........................................................... 109 5. STUDIE III: Onlinefragebogen „DislikesQues“ ......................................................... 223 6. Generelle Diskussion und Fazit ................................................................................ 265 Literaturverzeichnis ...................................................................................................... 275 Inhaltsverzeichnis 1. Einleitung ...................................................................................................................... 1 2. Literaturüberblick: “Disliked Music” bzw. Abgelehnte Musik .................................... 5 2.1 Musikgeschmack als Überbegriff ........................................................................... 5 2.1.1 Präferenz, Disferenz, Vorliebe, Ablehnung - eine Begriffsklärung ................. 5 2.1.2 Untersuchungsmethoden zum Musikgeschmack ........................................... 14 2.2 Musikvorlieben, oder: warum wir mögen, was wir mögen .................................. 18 2.2.1 Musikbezogene Begründungen von Musikvorlieben ..................................... 19 2.2.2 Authentizitätszuschreibungen als positives Werturteil .................................. 24 2.2.3 Wirkungen von Musik als Begründungsstrategie........................................... 29 2.2.4 Funktionen und Gebrauchsarten der Musikvorlieben .................................... 31 2.2.5 Einflussfaktoren auf den Musikgeschmack .................................................... 37 2.3 Abgelehnte Musik, oder: “Das mag ich nicht!” .................................................... 42 2.3.1 Bourdieu und die Theorie der Distinktion ...................................................... 45 2.3.2 Bryson, Peterson und die Theorie der Omnivorizität ..................................... 48 2.3.3 Ablehnungen als individuelles (soziales) Phänomen: Lahire, Warde und Wilk ................................................................................................................................. 52 2.3.4 Berlis Theorie vom grenzüberschreitenden Musikgeschmack ....................... 56 2.3.5 Soziale Identitätstheorie und Optimale Distinktheit....................................... 57 2.3.6 Ablehnung in musikwissenschaftlicher Forschung ........................................ 58 2.3.7 Ablehnung in Zusammenhang mit dem Negativ-Selbst ................................. 64 2.4 Musikablehnungen - Zusammenfassung und Forschungsfragen .......................... 72 3. STUDIE I: Fragebogenstudie “Musikgeschmack” ....................................................... 77 3.1 Methodik der Studie .............................................................................................. 79 3.1.1 Forschungsmethode: Offener Fragebogen / Twenty Statement Test ............. 79 3.1.2 Ablauf ............................................................................................................. 81 3.1.3 Teilnehmer ...................................................................................................... 82 3.1.4 Kodierung und Auswertung ........................................................................... 82 3.2 Ergebnisse ............................................................................................................. 85 3.2.1 Musikalische Ordnungskategorien ................................................................. 86 3.2.2 Musikalische Eigenschaften, Liedtexte und Sängerstimme ........................... 90 I 3.2.3 Wirkungen und Funktionen ............................................................................ 94 3.2.4 Allgemeine Beschreibungen ........................................................................... 98 3.2.5 Darbietungskontext, Entstehung und Musikpraxis ....................................... 103 3.3 Diskussion ........................................................................................................... 104 4. STUDIE II: Interviewstudie “Disliked Music” ............................................................ 109 4.1 Methodik der Studie ............................................................................................ 111 4.1.1 Forschungsmethode: Semi-strukturierte Tiefeninterviews ........................... 111 4.1.2 Leitfaden ....................................................................................................... 115 4.1.3 Ablauf der Interviews ................................................................................... 117 4.1.4 Teilnehmer .................................................................................................... 119 4.1.5 Transkription ................................................................................................. 121 4.1.6 Analyse ......................................................................................................... 122 4.2 Ergebnisse ............................................................................................................ 124 4.2.1 Klassifikationen abgelehnter Musik ............................................................. 125 4.2.2 Ablehnungsstärke – von Neutralität bis zum Hass ....................................... 134 4.2.3 Musikimmanente und musikexmanente Bezugspunkte der Ablehnungen ... 138 4.2.4 Legitimationsstrategien der Teilnehmer für ihre musikalischen Ablehnungen ................................................................................................................................ 143 4.2.4.1 Sachbezogene Legitimationsstrategien .................................................. 145 4.2.4.2 Subjektbezogene Legitimationsstrategien .............................................. 167 4.2.4.3 Soziale Legitimationsstrategien ............................................................. 180 4.2.4.4 Kategorieübergreifende Themen ............................................................ 186 4.2.5 Situationsbedingte (Situative) Veränderungen ............................................. 192 4.2.6 Häufigkeitsverteilung der Ablehnungsbegründungen .................................. 193 4.2.7 Reaktionen auf die abgelehnte Musik ........................................................... 199 4.2.8 Was sagt Ihre abgelehnte oder gemochte Musik über Sie aus? .................... 207 4.2.9 Funktionen abgelehnter Musik ..................................................................... 212 4.3 Diskussion ........................................................................................................... 215 5. STUDIE III: Onlinefragebogen „DislikesQues“ ......................................................... 223 5.1 Methodik .............................................................................................................. 224 5.1.1 Fragebogenentwicklung und Auswahl der Items .......................................... 224 5.1.2 Ablauf ........................................................................................................... 227 II 5.1.3 Teilnehmer und Durchführung ..................................................................... 229 5.2 Ergebnisse ........................................................................................................... 230 5.2.1 Stark und schwach abgelehnte Stile und Interpreten – Deskriptive Statistik ............................................................................................................................... 230 5.2.2 Zusammenhang zwischen den Begründungsitems und der starken und schwachen Ablehnung von Stilen und Interpreten ................................................ 233 5.2.3 Zustimmung zu den Ablehnungsbegründungen ........................................... 235 5.2.4 Zusammenhang zwischen der (schwachen) Ablehnung von Interpreten und Stilen und den Ablehnungsgründen....................................................................... 236 5.2.5 Unterschiede in den Begründungsstrukturen für die Ablehnung von Stilen und Interpreten.............................................................................................................
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