Ein musikalisches Stück Heimat

Mendívil, Julio

doi:10.1515/9783839408643

Cited by 4 publications

(4 citation statements)

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“…In a UK sample, Metal and electro/techno as well as world and urban music were disliked by half of the participants, while classical music (but not opera) was shown to be the most often positively judged style (Bennett, 2010;Savage, 2006;Warde, 2011). Findings from a representative German sample show that the least educated listeners prefer a typical lowbrow German style called schlager (literally, "hits"; originally, the German word for all popular music, now a specific style of German pop, partly mixed with traditional music with mainly German lyrics, which has its own historical traditions, social networks, and market segments; Mendívil, 2008), and the most educated prefer the typical highbrow style of classical music, while the preference for metal is, in contrast to findings from the United States, not related to education (Lehmann, 2018).…”

Section: Dislikes Of Musical Styles and The Role Of Social Distinctionmentioning

confidence: 99%

The structure of musical dislikes.

Merrill¹,

Frieler²,

Ackermann³

2023

Psychology of Aesthetics, Creativity, and the Arts

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The current study explored the structure of rationales for musical dislikes. In an online survey, participants (N = 627) evaluated self-selected styles and artists in a slight and strong degree of dislike condition with respect to 41 reasons for musical dislikes distilled from a previous interview study. After constructing nine subscales of reasons, a latent profile analysis identified two profiles of explanatory strategies for disliked music. The highbrow profile included reasons such as the music being Too Simple, or Not Authentic, having No Impact on the listener, and a perceived Social Incongruence, and was mainly associated with a dislike of German schlager, traditional music, and pop. The lowbrow profile included reasons such as the music being Too Niche and Too Complex and was associated with a dislike of jazz, classical music, heavy metal, and techno. A correlational network revealed that Displeasure can occur in relation to Social Incongruence, or in relation to Too Niche music. No Impact occurs in response to music regarded as Too Simple or Not Authentic. A strong dislike is consistently characterized by higher Displeasure, while Social Incongruence and Not Authentic were reasons to strongly dislike artists from mainstream styles. Hence, investigating fundamental musical value judgments, the current study shows that musical dislikes are a complex, multidimensional component of musical taste. The results have implications for the psychology and sociology of music, widening our understanding of people's attitudes toward music and its role in everyday life.

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Section: Dislikes Of Musical Styles and The Role Of Social Distinctionmentioning

confidence: 99%

The structure of musical dislikes.

Merrill¹,

Frieler²,

Ackermann³

2023

Psychology of Aesthetics, Creativity, and the Arts

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“…A list of 14 musical styles was presented (metal, techno, German schlager, German traditional music, pop, rap/hip hop, classical, rock, jazz, electronic dance music (EDM), house, reggae, country, blues; Merrill et al, 2023; schlager is literally defined as "hits"; originally, the German word for all popular music, now a specific style of German pop, partly mixed with traditional music with mainly German lyrics, which has its historical traditions, social networks, and market segments; Mendívil, 2008) and each one was rated according to how interesting or boring the participant found them on a 7-point scale from very interesting (1) to very boring (7) (Fig. S2 and Table S2 in supplementary materials).…”

Section: Studymentioning

confidence: 99%

Music and Boredom: A First Insight Into an Unexplored Relationship

Merrill,

Niedecken

2023

Music & Science

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While the positive effects of music listening have received much attention, insights into the negative effects are rare, such as the experience of boredom. In two consecutive online surveys using qualitative (N = 266) and quantitative methods (N = 719), participants were asked to retrospectively report their experience of boredom while listening to music. The experience of boredom depends on a combination of factors, such as musical features or styles combined with a certain situation, or the dislike of that music. Boredom is also accompanied by feelings of high and low arousal such as annoyance, anger, fatigue, and listlessness. Notably, boredom in the context of music does not only refer to an emotional state but is also used as a disparaging judgment of music. The associated musical features of “boring” music, such as repetition and monotony, go along with a perceived simplicity and uniformity in specific musical styles (e.g., German schlager, pop, EDM, or rap). Overall, the prevalence of boredom during music listening was low in the current sample, where 77% never or rarely experience boredom, but 46% report experiencing it moderately to very severely when it occurs. Participants with higher musical perceptual abilities report experiencing boredom more frequently and intensely, while a higher active engagement with music and higher agreeableness seem to prevent one from “musical” boredom. The results align with typical aspects of general boredom and contribute to the understanding of the variety of factors that compose an averse form of an aesthetic experience with music.

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“…As Mendívil (2008) notes, such foreign references are not only cliché-laden representations of 'the Other'they also convey a lot about the genre's recipients' views of themselves as Germans. With regard to the song 'Ein Indiojunge aus Peru' ['An Indio Boy from Peru'] by artist Katja Ebstein, Mendívil writes, 'what seemed to be a stereotype-laden, superficial, even racist song about a caricatured Peruvian Indio at first glance, turned out to me as a subtle ode to the German bourgeois way of life and showed an exact correspondence between lyrics and music: a mournful, supposedly Andean minor melody for as long as the verses recount the protagonist's miserable life, and a glamorous major melody depicting the superiority of the gentle and cosy, yet convincing German way of life ' (p. 19).…”

Section: Depictions Of 'The Other' In Schlager Lyricsmentioning

confidence: 99%

“…As Mendívil (2008) observes, the creative use of musical poetics in these productions does not necessarily require the original musical instruments of the 'cited' regions. Rather, the aim is the elicitation of a diffuse impression of the Other for the genre's listeners, hence the term 'musical cliché'.…”

Section: Musical Structuresmentioning

confidence: 99%

Taking stock of a discourse: An integrative content analysis of musical structures and cultural stereotypes in top-10 German Schlager songs from 2009 to 2019

Thiesen

2023

Pop. Mus.

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German Schlager's simple and static musical form is considered by many authors as an immutable key factor in the genre's overall success. However, the introduction of break routines and pop drops to the genre seem to refute this point of view. Cultural references and musical clichés are also integral parts of Schlager's staging. This paper presents an integrative content analysis of 548 songs from 2009 to 2019 with the aim of observing trends in musical form and the use of both cultural references and musical clichés in contemporary Schlager. Overall, the corpus shows more variability than expected, featuring a growing number of structural parts. Contrary to strong claims, the genre is undergoing a change in musical structure. However, whether this also applies to the reproduction of certain stereotypes in song lyrics remains to be seen: about a quarter of the songs contain cultural references, outnumbering musical clichés by a factor of three.

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Ein musikalisches Stück Heimat

Cited by 4 publications

References 0 publications

The structure of musical dislikes.

The structure of musical dislikes.

Music and Boredom: A First Insight Into an Unexplored Relationship

Taking stock of a discourse: An integrative content analysis of musical structures and cultural stereotypes in top-10 German Schlager songs from 2009 to 2019

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