Samples 10 (2011)
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Item Hardrock, Heavy Metal und der Splatterfilm : Affekte und Symbole in den Filmen der Rocksploitation(2011) Wulff, Hans J.Since the 1980´s a number of exploitation movies from the horror and splatter genres used rock musicians as protagonist figures. Rock music (especially hard andheavy rock, death metal, dark metal, etc.) was the mostly used film-musical style of these movies. The article discusses the role of horror scenarios and symbols in the public communication of metal music, based on an affinity of emotional and atmospheric characteristics of musical and narrative styles in the films of thecorpus. Violence, Satanism, and other themes of the movies are discussed as strategic devices in intergenerational diversification of audiences. At last thequestion is raised whether the symbol worlds of horror and terror are losing their traditional cultural meanings and being transformed to indirectly used codesleading to affective themes of juvenile orientation.Item Swingin´ his hands faster than Karate Kid : Der gehörlose Rapper Signmark und Gebärdensprachen im HipHop(2011) Thoma, Nadja; Lehto, AnnamariaIn 2006, the deaf rapper Signmark captured the charts of his home country Finland with an album that consists of a CD and a DVD with the first raps in Sign Language worldwide.The aim of the album is to gain visibility to the history and society of deaf people and to position Sign Languages as legitimate languages on stage.On the one hand, the hip-hop culture is often described as a culture of marginalized groups. Rap lyrics are a site where languages and identities are refashionedand where speakers of marginalized communities and languages increase visibility of their languages and call language ideologies, politics and hierarchies into question.On the other hand, (spoken) language and voice are seen as constitutive elements of rap.This article addresses the relationship between the call for authenticity in rap which is strictly bound to the materiality of voice, and the use of Sign Lanugage, which can be interpreted as the authentic use of the cultural and linguistic traditions of deaf people.Item Identität und Musikanalyse : Grundlegende Überlegungen zu den Begriffen Habitus und Gestus im Rahmen der Popularmusikforschung(2011) Jost, ChristopherPopular music exists within an excess of different genres and styles. Throughout the decades the practicing of sound ideals has led to a common sense for musicaldistinctions. Both, performers and listeners, are aware that every musical action or creation connects with preexisting pop cultural meanings. But it is also apparent that the musicians themselves enable experience and produce meaning. They address the listener in a multitude of expressive actions that merge into an artistic personal identity. As a consequence of this music analysis has to mediate between cultural formations and the artists´ identities that are conveyed via musical actions and acts of embodiment. Therefore, two theoretical concepts, habitus and gestus, are subjected to fundamental methodological considerations.Item So einen Scheiß lade ich nicht auf meinen Laptop : Auswertung einer Studie zum Umgang von Schülern mit rechtsradikaler Musik(2011) Brunner, Georg; Gründer, RenéThis paper examines the reactions of pupils to the music of right-wing extremists. Having explored the music terminology, research was conducted in search for pupils´ musical preferences. The core research question is; do relationships between music aesthetical and textual connectivity exist?Both quantitative and qualitative data was collected from a sample of two hundred and thirty pupils using online-questionnaires and sound examples. Group discussions were also conducted from three different schools.Test results showed that 5% of pupils listen to right-wing extremists music, and between 8,1% and 16,3% know about this music. Sound questionnaires using rightwing and non right-wing extremists music revealed that denial or acceptance of the music was not based on textual, but on aesthetical reasons. In group discussions pupils listened to several (in some cases right-wing extremist) songs without any further information; the first comments were made about musical parameters.The outcomes also showed that textual context plays a certain role on preferences in a second phase of reflection. Differences exist in descriptions conditionedby milieu and education. Most of the pupils in the »Haupt-« and »Realschule« prefer English spoken songs, the reason being that it »sounds better.« There is tendency of orienting this preference to the classroom situation.As regards political attitudes, pupils from Haupt-/Realschule saw influences of right-wing extremist music as depending on private experiences. Whilst the Gymnasium students saw influences as coming from media transferred opinions, Group discussions also revealed denial of right-wing extremist music, followed by arguments of specific educational archetypes.Results of this study disagree with the common thesis that right-wing extremist music is a »starter drug« for an entry into the right-wing extremist scene.Item Samples 10 (2011)(2011)