| 1. |
|
|
| 2. |
|
|
| 3. |
|
|
| 4. |
- Pontara, Tobias, 1968, et al.
(författare)
-
Musikalisering och medialisering
- 2019
-
Ingår i: Musikens medialisering och musikaliseringen av medier och vardagsliv i Sverige / red. Ulrik Volgsten.. - Lund : Mediehistoria, Lunds universitet. - 1654-6601. - 9789198504583 ; , s. 263-282
-
Bokkapitel (refereegranskat)
|
|
| 5. |
- Volgsten, Ulrik, 1965-
(författare)
-
Identität, Authentizität und Qualität als Komponenten von Kultur
- 2014
-
Ingår i: Kulturelle Identität und soziale Distinktion<em></em>. - Innsbruck : Helbling Verlag. - 9783990350874
-
Bokkapitel (refereegranskat)abstract
- Musik ist Kultur. Man könnte diese Aussage für eine Binsenweisheit, eine Tautologie oder eine Selbstverständlichkeit halten. Aber ist das so? Ist Musik Kultur? Was bedeutet das, wenn es so ist? Ich will im Folgenden versuchen, diese Frage zu beantworten, indem ich von einigen zentralen Begriffen der Kulturtheorie ausgehe: Identität, Authentizität und Quali- tät. Was es mit der Bedeutung dieser Begriffe im Kontext von Kultur auf sich hat, will ich an konkreten Beispielen aufzeigen. Die Überlegungen münden in einen Vorschlag, der es möglich werden lässt, dass die Musik (und die Musikpädagogik) durch die Art und Weise, in der Fragen der Qualität in Bezug auf die Kategorien Identität und Authentizität betrachtet werden, ein besonderer demokratischer Auftrag in der Gesellschaft zukommt.
|
|
| 6. |
- Volgsten, Ulrik, 1965-
(författare)
-
Kulturteori : Introduktion till några centrala teman
- 2014
-
Ingår i: Musik för alla. - Lund : Studentlitteratur AB. - 9789144084879 ; , s. 57-78
-
Bokkapitel (refereegranskat)abstract
- Musik är kultur. Påståendet borde vara en truism, en tautologi, en självklarhet. Men är det så? Är musik kultur? Vad kan det i så fall innebära? I det följande besvaras frågan med utgångspunkt i tre centrala kulturteoretiska teman: identitet, autenticitet och kvalitet. Med denna utgångspunkt ger författaren en överblick hur musiken, som kulturellt fenomen, förhåller sig till andra komplexa fenomen som globalisering, media, genusfrågor, med mera. Avslutningsvis skisseras konturerna till ett argument för musikens inneboende potential som kulturellt fenomen.
|
|
| 7. |
- Volgsten, Ulrik, 1965-, et al.
(författare)
-
Music, Memory, and Affect Attunement : Connecting Kurdish Diaspora in Stockholm
- 2016
-
Ingår i: Culture Unbound. Journal of Current Cultural Research. - 2000-1525 .- 2000-1525. ; 8, s. 144–164-
-
Tidskriftsartikel (refereegranskat)abstract
- This article takes its point of departure in Maurice Halbwachs’ notion of collectivememory, adding the distinction made by Jan Assmann between communicativeand cultural memory, and Alfred Schütz’s notion of communication, understoodhere as the sonorous communication of bodily affect. By combining and cross-fertilizingthe concept of memory with that of affective experience, our aim is to takea new and productive perspective on music’s role as and in cultural memory aswell as the crucial role played by affect attunement. As examples, we use interviewsand observations from an on-going research project on the role of music inethnically-based associations in Sweden. In addition, we show how music oftentransgresses the categorical distinctions of collective memory. The main questionswe ask are a) to the extent that there is a difference between music serving as ameans for and as content of collective memory (what the memory is “about”), howcan we account for and explain this difference? and b) how does verbally-narratedcontent relate to the sound of music when it comes to collective memory?
|
|
| 8. |
- Canalp, Safa, 1987-
(författare)
-
Genre Transfer : Indie Music in Istanbul (1990s-2010s)
- 2023
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis sheds light on border crossings of popular music genres and proposes a novel approach to studying circulation of popular music across the globe. It propounds a critical discussion on the conventions and politics of knowledge production and dissemination within the scholarship that lies in the intersection of popular music studies, ethnomusicology and music sociology. The thesis points to the predominance of structure-driven and conjuncture-oriented approaches as well as issues of comprehension and representation within the scholarship, and it motivates an actor-oriented approach to account for transregional circulation of popular music genres. Through taking indie music in Istanbul as its case, the thesis develops an alternative approach called "genre transfer." It focuses on the emergence and development of indie music within the regional context of Istanbul from the 1990s to the 2010s. Apart from identifying the key agents and institutions that have been involved in the process of indie music's local legitimization, the thesis analyzes the agents' changing conditions, relations and strategies that have provided base to the transformation of their practices. In doing so, the thesis draws upon actor-oriented approaches of cultural transfer studies and remains informed by analytical and epistemological concerns laid out within the fields of relational sociology and sociology of knowledge.
|
|
| 9. |
|
|
| 10. |
- Lindblad, Katarina, et al.
(författare)
-
“Medicine for the soul” – Older men’s identity performance and affect attunement through music listening
- 2022
-
Ingår i: Approaches: An Interdisciplinary Journal of Music Therapy. - : Approaches: An Interdisciplinary Journal of Music. - 2459-3338. ; 14:1
-
Tidskriftsartikel (refereegranskat)abstract
- The wellbeing of older men is an understudied, yet urgent research topic. After retirement, men may lose their social networks and professional identity, which can lead to loneliness, depression, and a heightened risk for suicide. These problems are worsened by a reluctance amongst many men to seek help. Existing social support systems are oftentimes not customised to older men’s needs and interests. Previous studies suggest that music can play a significant role for the social and emotional wellbeing of older men. Therefore, a music listening group was set up to explore how music listening can serve as a wellbeing resource for older men. Eight men 64-86 years old met to listen to and discuss music of their own choice, with a trained music therapist (first author) as the group leader. Focusing on the participants’ identity performances, a deductive thematic analysis was conducted, guided by Goffman’s dramaturgical perspective of frontstage-backstage, Stern’s theories on vitality affect, and masculinity theory. The participants performed their identities mainly in line with traditional masculinities in their verbal frontstage performances, revealing ambivalent masculine identities, while using music to connect to, experience and express other, more “sentient” backstage identities which surpass traditional norms. The music chosen was characterised by the participants’ curiosity and openness to learning about new music. The results have implications for music therapy in highlighting the wellbeing needs of older men and music’s many aesthetic and wellbeing potentials for this hitherto understudied group.
|
|
