A Matter Of Habitus: Musical Repertoires Of Music Teachers In Chile.
Universidad de O'Higgins, Chile
The current work explores the musical repertoires of an purposive sample of music teachers educated in Chilean universities between 1970 and 2010, from the analysis of descriptions and categorization ways used to name musical repertoires performed in the social origin and university education contexts.
Using a qualitative approach, the study uses data obtained from a questionnaire of socio-musical characterization, semi-structured interviews, and, for comparative purposes, analysis of curricular proposals of initial teacher training in music. Subsequently, qualitative content analysis was used to propose a classification model of musical repertoires, supported conceptually from musicology references (Tagg, 1980, Harris, 1995, Lena & Peterson, 2008) and sociology (Bourdieu, 1979, Bernstein, 1990, 1999).
Results are showing a complex reality, where the heterogeneous use of language to denominate and classify musical repertoires constitute a sample of the relative power that university training would have in the recontextualization of knowledge acquired in the social context of origin.
In this sense, categorisation of musical repertoires of music teachers allow to see the ways that origin social context and university participate in the conformation of musical experience of music teachers, showing us how they building part of their professional knowledge (in terms of specialized disciplinar language), in a fragile balance between personal experience and professional knowledge.
Key words: musical repertoires, sociology of music, music teacher education in Chile.
Building Social Capital in a Port Town Neighborhood with Contemporary Art Projects and Classical Music Concerts.
Rikkyo University, Japan
Art is often thought to possess the ability to build social connections between people of different walks of life, a process Putnam called “bridging social capital” (2001). But suppose different art genres are involved in one neighborhood. Would the character of the neighborhood’s residents and their relationship differ? To answer this question, we analyzed the case of an art festival, Assembridge NAGOYA, held in a port town suburb of Nagoya, the third largest city in Japan. In 2016, the local government initiated this festival to make art more accessible to local citizens. The festival involved contemporary art exhibitions and classical music concerts, though both activities were held not in strict spaces, such as museums, galleries, or concert halls, but in open spaces, including old buildings, streets, and aquariums. Though held simultaneously, the two activities drew starkly different audiences: The exhibitions featured younger attendees who were mostly female, while the concerts attracted an older crowd that was mostly male. Even though, the festival as a whole attempted to make the local community more connected. Hence, it appeared that the festival only reinforced the neighborhood’s fragmentation, rather than bridged it. Through observations of the events and interviews with the directors of both the exhibitions and the concerts, this presentation discusses the conflict between the directors’ visions and their audiences’ reactions, and searches for ways to overcome the barrier between art lovers and music listeners. In doing so, we seek to develop a new account of the social capital created by the arts.
Countering the Modern Japanese Self through Polish Art: Reflexive Reception of F. Chopin’s Music by Contemporary Japanese
Polish-Japanese Academy of Information Technology, Japan
The paper examines the social cognitive effects of the music of Fryderyk Chopin on Japanese pianists and music lovers in late modernity by analyzing their reception of Chopin’s music through a Polish cultural lens.
Poland’s presentation of Chopin’s music, based on the pursuit of both national and cosmopolitan ideals, keeps attracting Japanese musicians and music lovers. The amateurs, students and professional pianists, while brought up with Chopin’s institutionalized presence in the Japanese classical music sphere, vigorously joined in the ritual of witnessing the current “sacredness” of Chopin’s music in Warsaw, at such events as the International Fryderyk Chopin Piano Competition, Łazienki Park summer concert series and the brand-new International Chopin Competition on Period Instruments.
What are the attitudes of Japanese pianists and music lovers to the Chopin-related music industry back in Japan? How do they observe today’s national and cosmopolitanizing Chopin discourses in the Polish musical sphere? What are the values of Chopin’s music that help them in their real and artistic life?
The empirical materials, including in-depth interviews with Japanese pianists who underwent studies in Poland and those with Japanese listeners and participants of Chopin-related events in Tokyo and Warsaw (2005-2019), are examined by a method of narrative analysis and critical discourse analysis.
The interviewees’ answers suggest that the experiences of Chopin in Poland let them alter their “neoliberal” sense of self and recognize the importance of civil values such as freedom and reason, which are meagre in Japanese society, and that this changed how they pursued human performance and life.
How Music Festivals Contribute To The Social-Ecological Transformation
Leuphana Univertity Lüneburg, Germany
Music festivals will not change the world, but they do serve as an acceleration torque regarding the advance of the social-ecological transformation of societies in terms of disengaging from the capitalist fundamental idea of economic growth. That’s the finding from an investigation which was conducted in 2017 on one of the biggest, commercialized and unpolitical open-air, rock-music-festivals in Germany, the Hurricane Festival. Surveys on five other German open-air-festivals corroborated this outcome. The study uncovers the festival audience as a temporary community dealing with different values and norms as in everyday-life within an improvised infrastructure over up to 5 days. The absence of obligations, competition and social hierarchies was the most obvious festival specific aspect describing the festival atmosphere by the festival audience. In return phenomena that are comprehensively explained by the concept of Resonance by the German sociologist Hartmut Rosa are identified as a main part of the festival specific aspects of think- and behavior pattern of the festival audience. In festival situations these phenomena are collectively experienced by young people in a positive setting and thus memorable. Resonance is identified as a possible solution for the grievance implemented in modern societies through the dominance of capitalist market logic. The study includes a combination of qualitative and quantitative research on the Hurricane festival with a response rate of more than 30 semi-structured interviews and 2077 completed questionnaires. It is accompanied by quantitative surveys on five further German open-air festivals with a response rate of in total 3.977 completed questionnaires.