Tuned to the nation’s mood: Popular music as a mnemonic cultural object
Tuned to the nation’s mood: Popular music as a mnemonic cultural object
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顺应民族情绪：流行音乐作为助记文化对象
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发表时间：
2011
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通讯作者：
Eyal Zandberg
中科院分区：
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作者：
Motti Neiger;Oren Meyers;Eyal Zandberg
本文通过对构成广播播放列表的流行音乐的调查，探讨了声音记忆的概念。我们的案例研究的重点是在以色列的大屠杀和英雄主义纪念日播出的歌曲在国家的第一个十年的地方商业广播（1993-2002）。批判性的分析试图理解是什么让某些歌曲与国家哀悼仪式如此相似，以及这些歌曲如何获得象征和塑造社会记忆的权威。文章通过三个主要问题解构了歌曲的纪念权威：（1）在流行音乐中谈论大屠杀时，人们可以唱什么？(2)谁被允许唱或写它？(3)这些艺术家是如何被允许在流行音乐的背景下歌唱大屠杀的？研究结果表明，这些歌曲作为“文化物品”的权威性来自于它们安静的音调和缓慢的克里思，它们的创作者和表演者的传记，以及由拥抱哲学存在主义观点的诗人所写的歌词的复杂组合。除了这种分析，本文试图了解流行音乐作为一种文化对象的力量和功效。
This article explores the concept of sonic memory via the investigation of popular music that constitutes a radio playlist. Our case study focuses on the songs aired on Israel’s Memorial Day for the Holocaust and the Heroism during the state’s first decade of local-commercial radio broadcasting (1993–2002). The critical analysis sought to understand what makes certain songs so identifiable with the national mourning ritual and the ways in which such songs gain the authority to symbolize and shape social memories. The article deconstructs the songs’ commemorative authority through three primary questions: (1) What is one permitted to sing about when addressing the Holocaust in popular music? (2) Who is permitted to sing or write about it? (3) How are those individual artists permitted to sing about the Holocaust within the context of popular music? The findings suggest that the authority of the songs as ‘cultural objects’ is derived from a complex combination of their quiet tone and slow tempo, the biographies of their creators and performers, and their lyrics, written by poets who embrace a philosophical-existential point of view. Beyond this analysis, the article seeks to understand the power and efficacy of popular music as a cultural object.