Online version of Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström Stockholm, Svenskt visarkiv, 2003 Publications issued by Svenskt visarkiv 18 Translated by Kristina Radford & Andrew Coultard Illustrations: Ann Ahlbom Sundqvist For additional material, go to http://old.visarkiv.se/online/online_mmm.html Contents Preface.................................................................................................. 9 AIMS, THEMES AND TERMS Aims, emes and Terms...................................................................... 13 Music as Objective and Means— Expression and Cause, · Assumptions and Questions, e Production of Difference ............................................................... 20 Class and Ethnicity, · From Similarity to Difference, · Expressive Forms and Aesthet- icisation, Visibility .............................................................................................. 27 Cultural Brand-naming, · Representative Symbols, Diversity and Multiculture ................................................................... 33 A Tradition of Liberal ought, · e Anthropological Concept of Culture and Post- modern Politics of Identity, · Confusion, Individuals, Groupings, Institutions ..................................................... 44 Individuals, · Groupings, · Institutions, Doers, Knowers, Makers ...................................................................... 50 Arenas .................................................................................................. 53 Potential Spaces, · e Arena’s Actors, · Formalisation and Focusing, Fields of Tension .................................................................................. 62 Polarity in Musical Life, · Some Processes Within the Six Fields of Tension, Mediation and Mediaization ................................................................ 68 e Interplay between Music and Technology, · Primary Mediaization, · Media- izational Reworking, · Demediaization and Remediaization, CASE STUDIES Points of Departure for the Case Studies .............................................. 77 Overview, · e Completed Studies, · e Groupings Structure and Strategy, · e When, Where and How of Multiculture, · Metaphors, · Perspective, · Parallel Discourses, · Parallel Strategies, · Homogenisation and Diversification, · Many Questions — Few Answers , Multicultural Visby .............................................................................. 93 Structural Resources and Conditions, · Origins and Citizenship, · Touring Multi- cultural Gotland, · e Latin American Association, · Tito Silva , · Local Visibility, · Ethnic Diversity?, · Local Identities, · resholds , · Mu- sic’s Infrastructure: Actors and Arenas, · Expressive Specialists, · Versatility, Survey- ability, Overlap, · Pathways , Stockholm — Homogenous Diversity ................................................... 114 Diversity in Different Dimensions, · A City of Differences, · e Multicultural Restaurant Scene, · A taste of Greece, · e Panipirotic Fellowship, · Cultural Activities, · Musical Education, · “Ethnic” Music Stores in Stockholm, · Multi- cultural Stockholm, · Conclusion, e Music Industry and the Range of Music in the Media ................... 139 Actors and their Activities, · e Interplay Between Actors — General Processes, · e Range of Music in the Broadcasting Media, Swedish World Music........................................................................... 148 Musical Changes, · Sparve lilla — as Swedish as it gets, · University Studies and Higher Education, · Folk Chamber Music and Drone Rock, · Mediaized Folk Music, · e Role of the Producer, · We Want to Embrace the Listener in a Nordic Atrium World, · Bad Dancing, · Actors, · Tendencies, Global Pop in Some Countries in the Caribbean and East Africa ......... 172 Orientation and Questions at Issue, · Some Background Facts, · What Global Forms of Music have Taken Root?, · Contacts with other Local Music Cultures, · How Has the Music Spread?, · What Happens to Global Music Locally?, · Global Music = Well-known Music?, Accordion and Old-Time Dance in Sweden ......................................... 196 Introduction, · Accordionists, · Accordions, Accordionists and Accordion Tunes, · Sheet Music, Recordings, · Arenas, · Changes in Music Habits, · Organisation and Formalisation, · Marginalisation and Acceptance, · Accordion on the Radio, · A Social Movement?, · A New Generation of Pensioners, · Aesthetic Marginalisation, e Nyckelharpa People ....................................................................... 228 Specialisation, · e Eric Sahlström Institute, · Just Exotic Enough, · e Doer’s Nyckelharpa Revival, · …and the Maker’s — e World Music Producer’s Revival in the s, · e Nyckelharpa People on e Net, · Group Dynamics — Actors, · Enthusiasts and Ideas, · National Instrument, · Repertoire, · An Expansive World of Nyckelharpa, e Boys — Classic Jazz ........................................................................ 246 School Dances, Nalen and Stampen, · Enthusiasts with Music at the Heart, · Actors, · Live Music, · A Swedish Variant of a World Grouping, e Swedish Caribbeans....................................................................... 264 Music from the Lesser Antilles and Jamaica, · How Did It Begin?, · Actors, · Contacts with Trinidad and Jamaica, · Finances, · Recruitment, · Many Arenas, · Recorded Music Performed Live, · e Yard and the Road, Assyria — a Land in Cyberspace ............................................................ 289 Assyrians/Syriani in Sweden, · Organisations, · Calculations on the Grouping’s Size, · e Place of Music in Assyria, · Music History: from Church Music to Pop, · Building a Nation, · A Virtual Assyria , · e Aims, · Visibility, · “Kennedy for President”, · e Role of the Actors, Medievalists and Early Musicists .......................................................... 309 Early Music, · Influences and Currents, · e Baroque Police and the Playful, · Actors, · e Growing Middle Ages, · How Information is Distributed, · e Music, · Entrepreneurs and Expressive Specialists, · Boundaries and Gatekeepers, · Conclusion, CHANGES IN THE MUSICSCAPES e Analytical Methods........................................................................ 333 New and Old Arenas............................................................................ 335 e Music Arena’s Role, · Calendar Variations, · Live Arenas, · Limited Access and Strategies, · Multiculturalisation, · Festivals, · Media Arenas, · Broadcasting — Narrowcasting, · Arena Dynamics, e Media Shapes Music...................................................................... 354 Change by Conveyance, · Live Arenas Replaced by Media Arenas, · Erasing the Live/Mediated Boundary, · e Mediaization-Localisation Connection, · Media- ization and e Future, Past, Present and Future ....................................................................... 366 Arena model process analysis, · Nine types of arenas, twelve music forms, · How e Arena Game works, Actors and eir Roles ......................................................................... 377 Individual Actors, · Groupings, · Unequal Access to Actors, · Unequal Access to Capital, · Institutions, Individual and Collective — Diversity and Multiculture ....................... 385 Structural Prerequisites for Diversity and Multiculture, · e Increase and Uneven Spread of Diversity, · Diversity and Individual Perspective, · Multiculture and Collective Perspective, · Groupings in Motion, · Relevancy and Competency: Irish Music in Stockholm, · Multiculture’s Spread, · Individuals and Groupings, · Groupings and Individuals, · Mixed Systems, · Diversify Diversity, Movements in the Sphere ..................................................................... 404 Process Analysis with the help of the Cultural Energy Sphere, e Play of Opposites .......................................................................... 408 Local Worlds and Global Motorways, · Homogenisation and Objectification, · Distribution — A Key Question, · Potential Spaces, · A Dilemma for the Music Industry, · From Knowers to Doers, · e Altered Significance of the Nation, · Institutionalisation and New Networks, · e Reduced Role in Public Cultural Debate, Historisation, Culturalisation, the Society of Groupings....................... 426 Historisation, · Culturalisation, · Life-cycle and Degree of Activity, · Musicscapes and the Society of the Future, Sources and Colleagues ........................................................................ 437 References ............................................................................................ 439 Publications in Connection with the Project ........................................ 449 Multimedia Material on the Website .................................................... 451 Preface If someone is eating kidney pie and gets the remark: “How can you eat that appalling food?”, the response will not be very harsh. If someone is listening to music and gets the remark: “How can you listen to that terrible music?”, the music listener gets hurt and angry and starts to defend her/his musical prefer- ences. But if the person who gives such a remark was aware of that the music is linked to the music listener’s origin and cultural background, there would