Chapter 6 Mediatization of music, musicalization of everyday life

Music has undergone a tremendous mediatization the last 100 years. Electrification and, later on, the digitization of music media have exposed music to an increased dissemination, both spatially – it can be heard almost everywhere – and temporally – one can listen to music almost anytime. This chapter aims to highlight and detail some fundamental changes and important transformations and displacements in everyday listening to recorded music as they first emerged. The macro level changes and transformations described by the concepts of mediatization and musicalization nevertheless depend on what happens at meso and micro levels. Recorded music in Sweden during the early decades of the century met with a “utilitarian” approach among audiences. In many ways, the change in attitude towards the gramophone and recorded music that can be traced in the reviews corresponds to transformations within the conceptual space

Chapter 6 Mediatization of music, musicalization of everyday life

Music has undergone a tremendous mediatization the last 100 years. Electrification and, later on, the digitization of music media have exposed music to an increased dissemination, both spatially – it can be heard almost everywhere – and temporally – one can listen to music almost anytime. This chapter aims to highlight and detail some fundamental changes and important transformations and displacements in everyday listening to recorded music as they first emerged. The macro level changes and transformations described by the concepts of mediatization and musicalization nevertheless depend on what happens at meso and micro levels. Recorded music in Sweden during the early decades of the century met with a “utilitarian” approach among audiences. In many ways, the change in attitude towards the gramophone and recorded music that can be traced in the reviews corresponds to transformations within the conceptual space

Music, Memory, and Affect Attunement: Connecting Kurdish Diaspora in Stockholm

Abstract This article takes its point of departure in Maurice Halbwachs' notion of collective memory, adding the distinction made by Jan Assmann between communicative and cultural memory, and Alfred Schütz's notion of communication, understood here as the sonorous communication of bodily affect. By combining and cross-fertilizing the concept of memory with that of affective experience, our aim is to take a new and productive perspective on music's role as and in cultural memory as well as the crucial role played by affect attunement. As examples, we use interviews and observations from an on-going research project on the role of music in ethnically-based associations in Sweden. In addition, we show how music often transgresses the categorical distinctions of collective memory. The main questions we ask are a) to the extent that there is a difference between music serving as a means for and as content of collective memory (what the memory is "about"), how can we account for and explain this difference? and b) how does verbally-narrated content relate to the sound of music when it comes to collective memory

Anders Hillborg : Liquid Marble (1995/rev. 1997)

Tonsättarfestival 13-20 november 2014. Red. T. Lundman. Kungliga Filharmonikerna/Stockholms Konserthus.</p

Anders Hillborg : Liquid Marble (1995/rev. 1997)

Tonsättarfestival 13-20 november 2014. Red. T. Lundman. Kungliga Filharmonikerna/Stockholms Konserthus.</p