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nimmt eine wichtige Differenzierung vor, die in etwa der Auffassung von Connor nahekommt. Für ihn „[sind] Nationen […] vorpolitische Größen [Herv. von mir, O.R.V.], die aber ihren optimalen Ausdruck erst erreichen, wenn sie sich politisch-staatlich organisieren“ (Nationalismus und Faschismus. Frankreich, Italien, Deutschland im Vergleich, Darmstadt 2005, S. 20). 22 Walker Connor definiert den Nationalstaat als „a territorial-political unit (a state) whose border coincided or nearly coincided with the territorial distribution of a national group. More concisely

Music Export Success«, in: Andreas Gebesmair und Alfred Smudits (Hg.), The Production of Global Repertoires. Popular Music Within and Beyond the Transnational Music Industry, Aldershot/Burlington/Singapore/Sydney: Ash- gate, S. 120–137. Butler, Judith (2003): Das Unbehagen der Geschlechter, Frankfurt a.M.: Suhrkamp Verlag. Castles, John (1998): »Tjungaringanyi: Aboriginal Rock (1971–1991)«, in: Philip Hayward (Hg.), Sound Alliances. Indigenous Peoples, Cultural Politics and Popular Music in the Pacific, London and New York: Cassell, S. 11–25. Chapple, Steve

feelings of belonging and identity are lived through linguistic behaviour and often institutionalized through linguistic practices. For multilingual speakers language choice is not only an effective means of communication but also JOHANNES BRUSILA 12 an act of identity; we maintain and change ethnic group boundaries and personal relationships, and construct and define »self« and »other« within a broader political economy and historical context (Wei 2000: 14f.). These processes can also lead to far-reaching language ideologies, which express people's beliefs

115 Martin Greve MUSIC IN THE EUROPEAN- TURKISH DIASPORA 1. INTRODUCTION The concept of ‘Turkish music’ has existed in Turkey for approximately 100 years and yet still no agreement exists as to exactly which kind of music it covers. In fact examples of various styles of ‘European music’ exist in Turkey as a variety of ‘Turkish music’ does exist in Europe. With regards to the social or political implications of the idea of ‘Turkish music in Europe’ there are several problems. First of all, there are only a few examples of reliable data concerning the

to [those in] Europe, China’s orchestras played a more important role, as they were not only utilized to create music and, connected to it, joy, but at the same time served as a kind of state-institution of even political importance. […] Every new dynasty created a new [kind of] music, implemented music-administrations and orchestras, [and] commis- sioned additional compositions[.]” (Xiao 1920c: ii-iii; my translation) Although underestimating the role of royal dynasties for the history of European music, the erasure of the previous musical traditions once a

Globalisierung ist wohl das in den letzten Jahrzehnten immer mehr entstandene Bewusstsein einer begrenzten Welt, in der „keine Externalisierung von Handlungsfolgen“9 mehr möglich scheint. Malcolm Waters fasst dies in seiner Definition von Globalisierung zusammen, indem er diese beschreibt als „a social process in which the constraints of geography on economic, political, so- cial and cultural arrangements recede, in which people become increasingly aware that they are receding and in which people act accordingly“ 10 . Jürgen Osterhammel und Niels P. Petersson

littéraire, Paris: Éditions du Seuil.) Brendel, Franz (1854): Die Musik der Gegenwart und die Ge- samtkunst der Zukunft, Leipzig: Bruno Hinze. Brolinson. Per Erik/Larsen, Holger (1990): »The Meaning of Rock. Some Problems Concerning the Aesthetics of Popular Music«. In: Keith Roe/Ulla Carlsson (Hg.), Popular Music Research. An anthology from NORDICOM-Sweden, Göteborg: Nordicom In- formation Center, Univ. of Göteborg, Department of Political Science, S. 115-119. Bubner, Rüdiger (1989a): »Über einige Bedingungen gegenwärti- ger Ästhetik«. In: Ästhetische Erfahrung

Schau getragenen Haut noch auf den »süßlichen« R&B-Gesang, sondern auf D'Angelos bevorzugte Haschisch-Sorte (»that's why my eyes are a shade blood burgundy«); vgl. Shapiro 2000: 38. BROWN SUGAR. TENDENZEN IM NEUEREN RHYTHM'N'BLUES 59 Literatur Bogdanov, Vladimir / Erlewine, Stephen Thomas / Bush, John / Woodstra, Chris (Hg.) (2003). All Music Guide to Soul: The Definitive Guide to R&B and Soul. San Francisco: Backbeat Books. Brackett, David (1994). »The Politics and Practice of ›Crossover‹ in American Popu- lar Music, 1963 to 1965.« In: Musical

Said« [Folk] • Paul Epstein: »9-1-1« [Folk] • M. Everitt: »Hey Osama« [Country] • Faraday's Dog: »Twin Towers« [Pop] • Fernando: »Give Him Up Taliban« [Pop] • Linda Finkle: »Are You With Us (September 11th Anthem)« [Rock] • Ellyn Fleming: »Crying Over New York City« [Soft Rock] • Glitter N Gold: »America (September 11, 2001 Fight Song)« [Pop] • Goldfinger Mest GoodCharlotte: »The Innocent« • Steve Good: »Osama Bin Rotten« [›Political Humor‹] • Goodnight Twin Towers: »Goodnight Twin Towers« [Pop] • Jon Gowen: »Send Osama To Texas« [Country] • David Kendall

.17 dominated by Gemayel’s Kataeb. After the civil war, the Lebanese Forces be- came a political party. 16 R. Fisk: Pity the Nation – Lebanon at War. 17 Ebd. S. 384. »PLAYING MUSIC SAVED US FROM GOING NUTS« | 213 For many Lebanese who experienced the war, it never ended. They have told me that it sticks deep in their memory, and that there was never a true reconciliation between the different parties. The 2006 war between Israel and Hizbullah, the street battles around the elections of President Michel Suleiman in 2008, and the instable situation at the Israeli