Between Authenticity and the Market: Music, Subculture, and Values in the United States since the 1970s

真实性与市场之间：20世纪70年代以来美国的音乐、亚文化与价值观

• 批准号: 251243447
• 负责人: Dr. Dorothea Gail
• 金额: --
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2014
• 资助国家: 德国
• 起止时间: 2013-12-31 至 2016-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/251243447?language=en
• 关键词: Between; Authenticity; Market; Music; Subculture

Ever since the proliferation of countercultural movements in the late 1960s, music in the United States has increasingly become a platform through which different subcultures assert their values and express these to a broader society. This project examines manifestations of such subcultural values through five case studies: a) the fusion of consumer values, branding, and community identity in advertisement music (the self-produced jukebox music of the convenience and roadside restaurant chain Waffle House); b) the redefinition of ethnicity and world-views in New Age Music (R. Carlos Nakai); c) anti-consumerist tendencies in the second wave of Detroit Techno electronic dance music (Underground Resistance and Plus 8); d) the question of elitism in the classical music scene (Charles E. Ives); and e) the commercialization of conservative Christian values in Contemporary Christian Music (Amy Grant and BarlowGirl). I analyze these cases via three fields of entanglement and tension: 1.) musical expression; 2.) subcultural values; 3.) the requirements of the market. Since at least the 1980s, supposedly independent subcultural values have had to confront the massive impact of a broader hegemonic consensus about the validity of a consumer society. As lifestyle and ethnicity have been commodified, religious and humanistic values have become products. Yet authenticity (artistic standards and the expression of values) and the market are not mutually exclusive categories. I seek to discover the new musical and social meanings that have emerged in the last thirty years as small music business encountered the pressures of consumer society. The project uses interdisciplinary approaches from Critical/Cultural Studies, American Studies, and musicology.

自从20世纪60年代末反文化运动的扩散以来，美国的音乐越来越成为一个平台，不同的亚文化通过这个平台维护自己的价值观，并向更广泛的社会表达这些价值观。本研究透过五个个案探讨这些次文化价值的表现：a）消费者价值、品牌与社群认同在广告音乐中的融合（便利与路边连锁餐厅华夫饼屋自制的音乐）; B）新时代音乐对族群与世界观的重新定义（R.卡洛斯中井）; c）底特律电子舞曲第二波浪潮中的反消费主义倾向（地下抵抗和Plus 8）; d）古典音乐界的精英主义问题（查尔斯E。伊韦斯）;和e）商业化的保守基督教价值观在当代基督教音乐（艾米格兰特和巴洛女孩）。我通过纠缠和张力的三个领域来分析这些情况：1）。音乐表达; 2.）亚文化价值观; 3.）市场的要求。至少从20世纪80年代开始，所谓独立的亚文化价值观就不得不面对关于消费社会有效性的更广泛的霸权共识的巨大影响。随着生活方式和种族被商品化，宗教和人文价值观也成为产品。然而，真实性（艺术标准和价值观的表达）和市场并不是相互排斥的范畴。我试图发现新的音乐和社会意义，已经出现在过去三十年的小型音乐企业遇到的压力，消费社会。该项目采用跨学科的方法，从批判/文化研究，美国研究和音乐学。