Theory and Ethnography of Affective Participation at DIY Shows in US

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11240%2F18%3A10385426" target="_blank" >RIV/00216208:11240/18:10385426 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Theory and Ethnography of Affective Participation at DIY Shows in US

Popis výsledku v původním jazyce

Many scholars have argued that live concerts constitute a community. My question in this article is how is this achieved, what kind of community is generated in the process, and how do we analytically approach answering these questions? In this regard, Thomas Turino suggests that community can be generated through an active and synchronous physical and music-related participation at live events. As a corrective to his deductive model of participatory and presentational music, I propose an inductive model of sociomusical participation, based on practices of DIY (&quot;do-it-yourself&quot;) music communities in the US. In the article, I engage with various theories of audience participation, as well as analyze different types of DIY music participation through the ethnographic study of American DIY shows. The interaction between DIY performers, audiences, and organizers, and the various forms of their social and musical participation at DIY shows suggest not only physical, music-related, and synchronous, but also spectatorial, non-synchronous, and cocreational participation; and not only harmonious but also antagonistic participation. This approach utilizes affect theory, recognizes difference and conflict in the constitution of a music community, and refutes some prevalent assumptions about the notion of audience participation.

Název v anglickém jazyce

Theory and Ethnography of Affective Participation at DIY Shows in US

Popis výsledku anglicky

Many scholars have argued that live concerts constitute a community. My question in this article is how is this achieved, what kind of community is generated in the process, and how do we analytically approach answering these questions? In this regard, Thomas Turino suggests that community can be generated through an active and synchronous physical and music-related participation at live events. As a corrective to his deductive model of participatory and presentational music, I propose an inductive model of sociomusical participation, based on practices of DIY (&quot;do-it-yourself&quot;) music communities in the US. In the article, I engage with various theories of audience participation, as well as analyze different types of DIY music participation through the ethnographic study of American DIY shows. The interaction between DIY performers, audiences, and organizers, and the various forms of their social and musical participation at DIY shows suggest not only physical, music-related, and synchronous, but also spectatorial, non-synchronous, and cocreational participation; and not only harmonious but also antagonistic participation. This approach utilizes affect theory, recognizes difference and conflict in the constitution of a music community, and refutes some prevalent assumptions about the notion of audience participation.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

50404 - Anthropology, ethnology

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2018

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Journal of Popular Music Studies

ISSN

1524-2226

e-ISSN

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Svazek periodika

30

Číslo periodika v rámci svazku

1-2

Stát vydavatele periodika

DK - Dánské království

Počet stran výsledku

29

Strana od-do

79-107

Kód UT WoS článku

000450075500008

EID výsledku v databázi Scopus

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