Musiklandskap : musik och kulturpolitik i Dalarna

Daniel Fredriksson, 1978- (Författare)

ISBN 9789176018262 · print

Umeå universitet. Institutionen för kultur och medier (Utgivare)

utgivning

Umeå : Institutionen för kultur- och medievetenskaper, Umeå universitet, 2018

236 sidor

Seriemedlemskap

Etnologiska skrifter · ISSN 1103-6516 · Etnologiska skrifter ; 65

Daniel Fredriksson

Bok

Fysisk resurs 10 bibliotek

Finns online:

Fritt tillgänglig via Umeå universitet

ämne

Kulturpolitik, Offentliga sektorn, Musikliv, Sverige--Dalarna, music, cultural policy, Dalarna, musical worlds, region, ethnomusicology, genre hierarchy, quality, the cultural cooperation model, musik, kulturpolitik, musikvärld, region, musiketnologi, genrehierarkier, samverkan, kvalitet, kultursamverkansmodellen

Annat bärarformat

22419569 (Även utgiven elektroniskt)

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Sammanfattning

In this thesis, I study how conditions for music-making can be developed, maintained and challenged through government support processes in the Swedish region Dalarna. The research questions focus on the ways music, policy and governance relate to each other, what kinds of musicians and ways of making music are favored in these relations, and the agency and meaning of place. The study is made through participant observation of musical events, cultural policy meetings, and the everyday practice of cultural policy officials; interviews with musicians, organizers and cultural policy officials; cultural policy documents as well as musicians’ and organizers’ public documents such as concert posters and websites. The musical landscape of Dalarna is summarized as a complex web with pathways that reach far beyond the geographical borders of the region. The cultural cooperation model works as a hierarchy from center to periphery, from the national government, through agencies, regional government, musical institutions and organizers, musicians and audiences. We can analyze all these practices as being part of music, as musicking. But we could also describe them another way, where the practice of cultural policy is dependent on and conditioned by the musical practices it is set to govern. In this way, musicians are always in some way also creating policy. I discuss genre hierarchies and further argue that music can, or should, not always be motivated by its effects on regional development or its social impact, it also needs to be allowed to be unhealthy and unprofitable. When we support music, we should be aware that it can be a hobby as well as a business, a serious artistic endeavor as well as play. And more often than not, music is all of these things at the same time.