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  • 1.
    Fornäs, Johan
    Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    Exclusion, Polarization, Hybridization, Assimilation: Otherness and Modernity in the Swedish Jazz Age2010Ingår i: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712, Vol. 33, nr 2, s. 219-236Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The introduction of jazz in Sweden fed into discourses renegotiating modern forms of identity in welfare society. In this new Jazz Age, music became an arena for reformulating norms of age, class, ethnicity, and gender differences. This article presents an intersectional and inter-medial study of songs, films and print sources with such topics. The new jazz idiom was linked to enticing and horrifying forms of otherness. Four basic positions are highlighted in the successive integration of both jazz and identities, from separation to fusion: demonizing exclusion, primitivist polarization, diversifying hybridization and normalizing assimilation.

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    Exclusion, polarization, hybridization, assimilation
  • 2.
    Fornäs, Johan
    Linköpings universitet.
    The Words of Music2003Ingår i: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712, Vol. 26, nr 1, s. 37-51Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Words and music are two distinct symbolic modes. Yet, as human ways of commu­ni­cation or forms of expression, they have much in common. They have important similarities as signifying systems, their mutual penetration is suggested by metaphors like “the language of music” or “the music of language”, and they are multi-modally united in all song genres. Popular song in particular is generally “text-intensive” (Booth 188). Many attempts to distinguish univocally between them turn out to be more difficult than may first be expected. Most cul­tur­al practices have no problems separating or combining them, but their defining differences tend to be explained in highly divergent and even contradictory ways. I will here exemplify some such fascinating paradoxes, problematizing what might seem to be self-evident rather than offering any simple answers. By pointing at certain interesting complexities, at least some main dimensions of the relations between words and music will be discerned

  • 3.
    Muchitsch, Veronika
    Södertörns högskola, Institutionen för kultur och lärande, Genusvetenskap.
    Sad Girls on TikTok: Musical and Multimodal Participatory Practices as Affective Negotiations of Ordinary Feelings and Knowledges in Online Music Cultures2024Ingår i: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article examines musical participatory practices on TikTok as mediations of ordinary feelings and knowledges. It conducts a multimodal analysis of user-generated videos that recirculated the song “Complex” by Scottish singer-songwriter Katie Gregson-MacLeod, which became widely successful on the app in 2022. Through its features and sociotechnical affordances, TikTok fosters feminine-coded articulations of intimate affects and negotiations of ordinary feelings and knowledges that have been marginalized in popular music cultures. Its intersecting algorithmic logics and human practices also create new rules about what affective sensibilities are foregrounded and how they are circulated through multimodal and memetic participatory practices.

  • 4.
    Schiller, Melanie
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. University of Amsterdam.
    "Fun Fun Fun on the Autobahn": Kraftwerk Challenging Germanness2014Ingår i: Popular music and society, ISSN 0300-7766, E-ISSN 1740-1712, Vol. 37, nr 5, s. 618-637Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Post-war Germany is often described in terms of a "loss of identity" and "cultural vacuum." From this void emerged bands with the desire to re-formulate Germanness musically, like Krautrock's most influential band Kraftwerk, who in their enigmatic song "Autobahn" rhetorically reclaim authority for what it means to be German. By sonically, visually and linguistically touching upon issues of collective memory and the confines of national space, time, and identification, Kraftwerk effectively not only introduce the key questions of nation building as a plurivalent discourse and participate in a performative construction of a national narrative, but simultaneously also challenge the notion of a monolithic Germanness. Drawing on Homi K. Bhabha's concept of "nation as narration," I analyze Kraftwerk's multimodal work of art "Autobahn" as a national narrative along the lines of spatiality, temporality and subjectivity, and argue that it dismantles a monolithic Germanness, while pointing to the nation as a non-linear process with an open-ended present.

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