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Here, there and everywhere: On the Musicalization of everyday life
Örebro University, School of Music, Theatre and Art, Örebro University, Sweden. (Musikvetenskap)ORCID iD: 0000-0002-5809-3575
University of Gothenburg, Gothenburg, Sweden.
2016 (English)Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

“Music is ubiquitous in today’s media societies” writes media scholar Benjamin Krämer (2011). As a result of its mediatization the entire field of music has changed drastically during the 20th century, giving priority to a diversity of genres as institutional determinants of music reception and consumption (ibid.). Whereas Krämer’s argument is cogent and convincing it is limited in scope, dealing with the surface effects of a more thorough reaching phenomenon that we propose to call musicalization.

Musicalization can be defined as a long-term historical process characterized by an ever-increasing presence of music in everyday life, a process that is intimately connected with changing technological conditions and with transformations in how music is mediated and communicated as well as with broader socio-cultural processes at work in a given historical period. At its broadest the concept of musicalization captures the gradually altered position of music in social life from unmediated forms of music making (singing and dancing) in pre-modern societies to the ubiquity of music of all kinds in our digitalized and globalized world.

Some of the more profound and wide-ranging effects of musicalization in the twentieth century concern emerging new ways in which people listened to and behaved towards music and, even more importantly, fundamental changes in how music was comprehended and conceptualized. However, those changes should not merely be understood as transformations in the reception and consumption of established and newly emerging musical genres. Rather, they should in a more radical way be seen as enabling new musical ontologies; that is, as effecting alterations in the very nature or “essence” of music and consequently as restructuring the ways human relations and communicative action is organized around music.

In this paper we will look at some central aspects of musicalization and consider how processes of musicalization interact with processes of mediatization. The relation between the two is a complex issue complicated by the fact that other factors of social and cultural change (institutional, economic, ideological, etc.) should be taken into consideration when searching for an explanation of the often very gradual alterations in the dissemination and conceptualization of music, as well as its influences on other cultural and social practices. In what follows we will proceed in three steps. We begin with an examination of what the concept of musicalization implies. We then briefly discuss the relation between musicalization and what we see as the most important aspects of mediatization. Finally, we sketch the outlines of a theoretical account of how the mediatization of music and processes of musicalization relate to other agents of socio-cultural change.

Place, publisher, year, edition, pages
2016.
Keyword [en]
Mediatization of music, music, media history
National Category
Musicology
Research subject
Musicology
Identifiers
URN: urn:nbn:se:oru:diva-53846OAI: oai:DiVA.org:oru-53846DiVA: diva2:1054697
Conference
6th European Communication Conference. Mediated (Dis)Continuities: Contesting Pasts Presents and Futures (ECREA 2016), Prague, Czech Republic, November 9-12, 2016
Projects
Everyday Devices. Mediatisation, Disciplining and Localisation of Music in Sweden 1900-1970
Funder
Swedish Research Council, 2015-01858
Available from: 2016-12-08 Created: 2016-12-08 Last updated: 2016-12-13Bibliographically approved

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