New Sounds, New Stories

When listeners talk about their listening experiences, they often refer to music as if it were a narrative. But can music actually tell a story? Can music be narrative? Traditionally, narrativity is associated with verbal and visual texts, and the mere possibility of musical narrativity is highly debated. In this study, Vincent Meelberg demonstrates that music can indeed be narrative, and that the study of musical narrativity can be very productive. Moreover, Meelberg even makes a stronger claim by contending that contemporary music, too, can be narrative. More specifically, Meelberg suggests considering contemporary musical narratives as metanarratives, i.e. narratives that tell the story of the process of narrativization.Wanneer luisteraars over hun luisterervaringen praten, refereren ze vaak aan muziek alsof het een verhaal is. Maar kan muziek wel een verhaal vertellen? Kan muziek narratief zijn? Traditioneel wordt narrativiteit geassocieerd met verbale en visuele teksten en wordt er betwijfeld of een muzikale variant zelfs maar kan bestaan. In deze studie beargumenteert Vincent Meelberg dat muziek wel degelijk een verhaal kan vertellen, en dat de bestudering van muzikale narrativiteit zeer productief is. Meer specifiek stelt Meelberg voor om hedendaagse muzikale verhalen te beschouwen als metaverhalen, dus als verhalen die het verhaal van het proces van narrativizering vertellen

What Might Have Been Lost

This article examines the role of “independent” folk music (indie-folk) in personal identity formation. It builds upon Paul Ricoeur’s theory of narrative identity, which argues (i) that it is through the mechanism of narrative that people build a more or less coherent life-story, and (ii) emphasizes the role of art (most notably literary fiction and poetry) as a mediator in the comprehension and regulation of transitory life experiences. This article aims to apply these insights to studying the role of indie-folk, a narrative art form adhering to the traditional understanding of folk music as a genre rooted in oral tradition, in the construction of personal identity. Studying the daily use of indie-folk songs by audience members through in-depth interviewing, it shows that (i) the reception of indie-folk music results in ritualistic listening behavior aimed at coping with the experience of accelerating social time; (ii) that respondents use indie-folk narratives as resources for reading the self, and (iii) that indie-folk songs provide healing images that are effective in coping with the experience of narrated time as discordant. In arguing for the central role of narrative in identity formation, this article aims to contribute to existing research on music as a “technology of the self” (DeNora). It specifically emphasizes how narrative particles are tools and building blocks in identity construction, a process characterized by the oscillation between narrative coherence and disruption

Sonic Strokes and Musical Gestures - The Difference between Musical Affect and Musical Emotion

Musicological theories traditionally address the expressive powers of music within a framework of signification, in which musical affect is considered as a meaningful musical gesture. Consequently, affect is regarded as a property of the music instead of as a bodily reaction of the listener. I will outline a different conception of musical affect that takes into account the bodily nature of perception. I will introduce the notion of sonic stroke, i.e. a sound that induces affect in the listener. A sonic stroke thus is responsible for the occurrence of musical affect. By relating the notion of sonic stroke to musical gesture the differences between the two can be articulated, as well as how they can be related to musical affect and musical emotion. I will conclude that musical emotion is the result of the interpretation of musical affect and that, while sonic strokes can induce musical affect, a musical gesture is the result of the listener’s reflection on the music she is confronted with, a reflection that is initiated by a sonic stroke

New Sounds, New Stories

When listeners talk about their listening experiences, they often refer to music as if it were a narrative. But can music actually tell a story? Can music be narrative? Traditionally, narrativity is associated with verbal and visual texts, and the mere possibility of musical narrativity is highly debated. In this study, Vincent Meelberg demonstrates that music can indeed be narrative, and that the study of musical narrativity can be very productive. Moreover, Meelberg even makes a stronger claim by contending that contemporary music, too, can be narrative. More specifically, Meelberg suggests considering contemporary musical narratives as metanarratives, i.e. narratives that tell the story of the process of narrativization