Populærmusik som historiske oplevelser
Nøgleord:
Populærmusik, Oplevelseshistorie, Sansehistorie, Følelseshisorie, PraksishistorieResumé
I denne artikel diskuterer vi muligheder og analysestrategier for det, vi kalder en oplevelseshistorisk tilgang til musikken, ved at veksle mellem teoretisk-metodiske refleksioner, elementer af historiografi og to praktiske analyser af oplevelsesfællesskaber i start-1980’ernes århusianske punkmiljø og de modkulturelle sociomusikalske rytmer et årti tidligere. Ud fra en overordnet interesse for musikkens historicitet og implikationer for hhv. socialisering og udfordring af herskende sociale normer peger vi særligt på erkendelsespotentialer i mødet mellem beslægtede, teoretisk-metodiske hovedstrømme inden for nyere musik- og historieforskning. Den ene er Christopher Smalls musicking, dvs. musikken som praksis og ikke som objekt. Den anden er faghistorikernes interesse for følelser og sanser som centrale aspekter af historisk variable oplevelser af verden, bl.a. som det kommer til udtryk i Benno Gammerls begreb om følelsesstilarter. Musicking og oplevelseshistorie bindes sammen gennem inddragelsen af Henri Lefebvres refleksioner over rum og tid i det levede og oplevede hverdagsliv.
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