Samples 11 (2012)
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Item Musik als politisches Mittel in Barack Obamas Wahlkampf 2008(2012) Seidel, TinaOn his way to victory in the presidential election in the USA in 2008, Barack Obama and his team benefitted from the use of a wide variety of strategic means. Obamas election campaign did not only stand out by involving modern social media networks such as Facebook and Twitter, but also by the cumulative presence of popular music and its performers. This article gives an overview of the occurrence of popular music during the Obamas campaign in 2008 and discusses it as an intentionally established political instrument. Furthermore, the author presents the results of her research on officially negated connections between an Obamasupportive music video, the music industry and Barack Obama himself. Although the discovered facts do not give evidence supporting the conjecture of popular music as an intentionally applied means in Obamas campaign, nevertheless this paper proves the power and influence music can have on politics as a medium of so called soft power.Item Die Möglichkeiten und Grenzen der Messbarkeit von Musikgeschmack(2012) Fleischer, BenediktThe present article examines the study series »The Do Re Mis of Everyday Life: The Structure and Personality Correlates of Music Preferences,« carried out by Rentfrow and Gosling in 2003, and focuses on the creation of the »Short Test of Music Preferences« and the registration of the preference dimensions in the second study. Thus, in interdisciplinary research, the previous research of music taste, genre and test theory are used as the standard of comparison. Numerous test-theoretical deficiencies, missing compliances of psychological quality criteria and insufficient definitions of concept are revealed. Genre terms prove to be too abstract and thus cannot capture the complexity of underlying social and cultural systems. Ambiguous and inappropriate terms are used for the interpretation of the factors without considering music experts or music taste research. Subsequently, it is recommended to equate music preferences with the established attitude construct. In addition, stable, canonised genre codes should be used as preference guidelines.Item Alpenloopings in Heimatklänge : Jodeln als Globalisierungsbewegung zwischen Tradition und Experiment(2012) Martin, SilkeThe subject of my contribution is the functioning and effect of yodeling as an experimental form of vocals and singing as presented in Stefan Schwieterts documentary Heimatklänge [Sounds of home] (CH/D 2007); a recursive figure that co-constitutes what is identified as home and forges a sense of identity. Yodeling enables two home »loops« of a special kind: first, the recursive calling-singing in the Swiss Alps, which returns to inside the body as a result of a specific geographic location and its echo, and second, a worldwide sounds network, which through the art of the three Swiss vocal artists Erika Stucky, Noldi Alder, and Christian Zehnder, forms an acoustic bridge from Switzerland via Mongolia to the USA. The essay follows the associative structure of the ilm, which describes a circular movement that seeks to locate the concept of home while alternating in sounds and images between region and global, own and alien, traditional and experimental. With its description of the hypothesis of the origin of yodeling the study begins with a musicological perspective; next, it present an in-depth film analysis of Heimatklänges presentation of yodeling; finally, it formulates a globalization hypothesis in the context of culture studies, which in conjunction with the film endeavours to rethink the relationship between mountain landscape and people.Item The Time is Gone!? Pink Floyds "Time" (1973)(2012) Hantschel, FlorianThis paper provides a hermeneutic approach on Pink Floyds popular song "Time" from 1973s album Dark Side Of The Moon. The primary aim of this examination is the analysis of the conceptual connection of music and lyrics in this song. Moreover, derivation of semantic meaning potential is used to form an intersubjectively verifiable song interpretation. All in all, the main results of this analysis suggest a close connection of the songs musical parameters, i.e. form, harmony, melody, rhythm as well as sound, and its lyrical theme: (1) first the musique concrète in the songs introduction and the subsequent instrumental passage establish evident semantic relations to the following lyrical theme of fleeting time, (2) a devils circle of transitoriness of life is presented in the songs lyrics and is musically mirrored by periodic formal and harmonic repetitions, (3) the ambivalence of the bridges negative lyrics in combination with the sweet melodic thirds in the vocals suggests a melancholic atmosphere, (4) the lyrics description of a human life from birth to death is reflected in the formal structure and the harmony of »Time« as well as in the conceptual arrangement of Dark Side Of The Moons first LP-side from »Speak To Me« to »The Great Gig In The Sky«.Item Sounds of India : die Rezeption indischen Instrumentalkolorits bei Rockjazz-Gitarristen(2012) Szegedi, MártonIndian music and jazz first encountered one another in 1957; however, Indian music first achieved popularity in 1965 when George Harrison played the sitar in the Beatles song »Norwegian Wood (This Bird Has Flown)«. Both jazz and rock musicians subsequently began to incorporate Indian elements into their music; pop culture simultaneously experienced an »India boom«. Among jazz-related genres, fusion itself a hybrid form most readily absorbed elements of popular music; thus, Indian elements can be found particularly often in the work of rock/jazz musicians. This study considers the reception of Indian music by fusion uitarists, with particular emphasis on instrumentation.Item Samples 11 (2012)(2012) Arbeitskreis Studium Populärer Musik e.V. (ASPM)Item Subjektive Theorien von Musikerinnen und Musikern zum Üben. Ein Beitrag an der Schnittstelle von Kognitionspsychologie, Popmusikforschung und empirischer Musikpädagogik(2012) Bunte, Nicola ; Scharlau, IngridThis article reports on the findings of a qualitative interview study that investigated the individual ideas about practicing of nine musicians of different musical backgrounds, music genres, instruments, and learning biography. The findings reveal a variety of different aspects that are embedded in argumentative reasoning, and thus are analysed as subjective theories. According to differences in complexity with regards to content and argumentative structure we propose the following typification: 1) physical-technical constriction, 2) technique and interpretation centered type, and 3) creative-congnitive focus. A strict affiliation between these types and musical genre was not found.