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Pop – Power – Positions Globale Beziehungen Und Populäre Musik

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Pop – Power – Positions Globale Beziehungen Und Populäre Musik Anja Brunner Hannes Liechti (Hg.) Pop – Power – Positions Globale Beziehungen und populäre Musik ~Vibes – The IASPM D-A-CH Series 1 Anja Brunner, Hannes Liechti (Hg.) Pop – Power – Positions Globale Beziehungen und populäre Musik ~Vibes – The IASPM D-A-CH Series 1 Editorial Board: Stefanie Alisch (Berlin), Susanne Binas-Preisendörfer (Oldenburg), Dahlia Borsche (Berlin), Sarah Chaker (Wien), Dietmar Elflein (Braunschweig), José Gálvez (Berlin), Christoph Jacke (Paderborn), Martin Ringsmut (Köln), Alexandra Röck (Berlin), Bernhard Steinbrecher (Innsbruck) © 2021 IASPM D-A-CH, Berlin www.iaspm-dach.net www.vibes-theseries.org Copy Editing Englisch: Norma Coates, London (Canada) Assistenz: Hannah Plüss, Bern Layout & Cover: Claudia Schacher, Wien Cover Photo: Dis Fig performing at Norient Film Festival NFF in Bern, Switzerland (photo by Karin Scheidegger, 2017) ISSN 2748-6389 Inhalt / Contents 5 Danksagungen / Acknowledgements 7 Welcome to ~Vibes—The IASPM D-A-CH Series Christoph Jacke 9 Pop–Power–Positions: Engaging with the (Post)Colonial in Popular Music Studies. An Introduction Anja Brunner, Hannes Liechti 21 “And It Turns Out that It only Has Two Chords”: Secondary School Music Teachers’ Orientations on Dealing with Learners’ Music Cultures in the Classroom in Germany Thade Buchborn, Verena Bons 37 Zur Doppelstruktur und Ambivalenz der Differenz: Inszenierungen von Anderen im populären Musiktheater, 1890–1930 Steffen Just 69 What Is Soul? Dietmar Elflein 89 Dance as Political Activism: Two Popular Choreomusical Responses to the Orlando Shooting Chelsea Oden 109 When “Ojos así” Became “Eyes Like Yours”: Translation as Negotiation of Lyrics, Sound, and Performance by Shakira Christina Richter-Ibáñez 129 State Censorship and the Controversy Surrounding the Narcocorrido Genre in Mexico César Jesús Burgos Dávila, David Moreno Candil, Helena Simonett 155 Data-Based Co-Creation and Participation: Reflections on an Ambivalent Relation by the Example of Music Apps Beate Flath 171 Autor*innen / Authors 5 Danksagungen / Acknowledgements All these texts in this volume are based on papers held at the third conference of IASPM D-A- CH, 18–20 October 2018, at the University of Bern and the Bern University of Arts (HKB) in Switzerland. The conference’s title was «Pop – Power – Positions. Global Relations and Popular Music». It was organized by the editors of this volume, Anja Brunner and Hannes Liechti, in collaboration with the platform for music research Norient and the Swiss Society for Ethnomusicology CH-EM. Many people contributed to the success of the conference and the publication of this volume. We want to thank our conference assistant Yves Chapuis, who did a fantastic job, and the whole team of student assistants who were around during the conference. Thanks for support and hosting goes out to the Institute Interpretation at the Bern University of Arts (HKB) with Thomas Gartmann, Martin Skamletz, Sabine Jud, and Daniel Allenbach, and the Institute for Musicology and the Center for Global Studies of the University of Bern, with especially Prof. Dr. Britta Sweers. For kindly and generously funding the conference we owe thanks to the Swiss Academy of Humanities and Social Sciences, the Swiss National Science Foundation, the Burgergemein- de Bern, the Nachwuchsförderungsprojektpool of the University of Bern, and the SüdKultur- Fonds. This is the first volume of the new online book series ~Vibes, published by IASPM D-A-CH, the German-speaking branch of the International Association for the Study of Popular Music (http://iaspm-dach.net). ~Vibes will present contributions from the IASPM D-A-CH confer- ences online every second year. We wholeheartedly thank all people who have contributed to this volume. First and foremost, this is our student assistant Hannah Plüss, who supported us in all stages of publication with her persistent and accurate work. Furthermore, this edition was supported by the editorial board of the series (in alphabetical order): Stefanie Alisch, Susanne Binas-Preisendörfer, Dahl- ia Borsche, Sarah Chaker, Dietmar Elflein, José Gálvez, Christoph Jacke, Martin Ringsmut, Al- exandra Röck, and Bernhard Steinbrecher. A special thanks goes out to the international ad- visory board of ~Vibes, including Norma Coates, Derek B. Scott, and Geoff Stahl. We have to thank all the anonymous reviewers who critically read and feedbacked the articles and thereby immediately increased the quality of the texts. Finally, many thanks go out to Claudia Schacher for developing the layout and the cover art- work of this series. 7 Christoph Jacke Welcome to ~Vibes—The IASPM D-A-CH Series The time has come: Our branch starts its own online publication series. For several years now, the executive committee and advisory board of IASPM D-A-CH have worked on creating a new platform for our discourses and discussions—a platform that guarantees high quality and many opportunities for publishing. This series will publish selected contributions from our conferences, edited by the respective local organizers. It all starts with the carefully designed and now completed first volume including articles based on presentations from the 3rd IAS- PM D-A-CH Conference in Bern. Congratulations! According to the mission statement of IASPM D-A-CH, we consider ~Vibes as a platform for international, inter-institutional, intergenerational, interdisciplinary, and interprofessional re- search and considerations from popular music studies—applied as lived academic practices in research, teaching, and reflection, not in addition but integrally. ~Vibes represents a multi-perspectival consideration of popular music in all its texts and con- texts—from theoretical, empirical, historical, and political perspectives. ~Vibes enables various publication formats, tries out and expressly opens up as a platform to not genuinely academic / scientific, e.g. especially journalistic and artistic texts. Suggestions are always welcome! ~Vibes is a scientific publication with no commercial interests. All contributions are freely ac- cessible online (open access). A respective editorial team, as well as an up-to-date active ed- itorial board, which can be constantly expanded, also ensures a meaningful and supportive assessment. We express our thanks to the authors, reviewers, the editors, the editorial board, and especially the advisory board (Norma Coates, Derek B. Scott, Geoff Stahl) of the first volume of ~Vibes, entitled Pop–Power–Positions—and of course first and foremost to the editors and Bern con- ference organizers Anja Brunner and Hannes Liechti. Christoph Jacke, Chair IASPM D-A-CH, February 2021 Dr. Christoph Jacke is professor of theory, aesthetics, and history of popular music and course director of the BA and MA program in Popular Music and Media at the Department of Music at Paderborn University, Germany. Chair of the German/Austrian/Swiss branch of the Inter- national Association for the Study of Popular Music (IASPM D-A-CH, 2016–2021), journalist. Homepage: www.christophjacke.de. Anja Brunner, Hannes Liechti Pop–Power–Positions: Engaging with the (Post)Colonial in Popular Music Studies. An Introduction Our world is full of connections spanning rivers, mountains, and oceans. Networks of people, things, and sounds exist across institutions, nations, and states; across interest groups, scenes, and ethnically defined groups. In short: We live—and have lived for a long time—in a globally connected world. This fact could not even be changed by the COVID-19 pandemic restrictions in place while writing these lines. Of course, restrictions to contain the spread of the virus has limited travel and re-affirmed borders. But the global connections remain nonetheless. Popular music has always been embedded in and connected to this globalized world. Popular music not only travels but has travelled around the world with people, instruments, and on recordings—now within seconds online—and is and has been an integral part of daily life (e.g. quoted in adverts, memes, or films). Popular music has habitually included influences from different parts of the world; it has consistently mixed and remixed genres, styles, noises, and sounds. In this volume, we want to highlight popular music’s embeddedness in our globally connected world. This world, however, is not an equal and fair one. On the contrary, issues of power and po- sitionality play a fundamental role in all aspects of life. The context, world region, class, or ethnicity in which a person, institution, or music is situated matters. Historical developments have fostered the exploitation and unequal control over and distribution of (natural) resources, money, and land, and have created uneven power structures that provide uneven access to social, economic, political, and cultural participation. Consequently, issues of power, position- ality, access, and representation have shaped the production, distribution, and reception of popular music around the world and continue to do so today. At the same time, popular music has always initiated, debated, and represented questions of place(s), power, and positions, and still does. Popular music, in short, does not exist in a world free of power structures and inequalities. When looking at the popular music practices and performances—no matter if mainstream or niche, produced in a studio in Accra, in a bedroom in New York, or in an underground rehearsal room in Paderborn, Germany—we are inevi- tably confronted with the reality of colonial and postcolonial power structures and depend- ences.
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