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für Soziologie an der Goethe Universität Frankfurt/M., an der sie seit neun Jahren Kulturanthropologie und Soziologie lehrt. In ihrer Forschung beschäftigt sie sich mit Zusammenhängen zwischen Geschlecht, Sexualität und Migration, transnationalen öffentlichen Räumen sowie der Politik von Multikulturalität und Diversität in Europa. Kosnick ist Autorin und Herausgeberin von Migrant Media: Turkish Broadcasting and Multicultural Politics in Berlin (1997) und Postmigrant Club Cultures (2015). • E-Mail: Cornelia Lund (*1970) ist

powerlessness of art” in a field of tension of various social, political, and cultural questions.8 He crit- icizes the mediocrity that power allows.9 However, within musical practice we can allow ourselves to be powerless. The vital nerve of our activities as com- posers, performers, and listeners is the powerlessness that we celebrate and even evoke. We feel delight in our activities. We can perform at anytime and anywhere actions that create meaning for us, and we can repeat these activities. The focus on repetition emphasizes incompleteness again and again. Our mu

. COLLINS, NICOLAS: „The Word – Voice, Language and Technology“. In: Leo- nardo Music Journal. Band 15, Cambridge: MIT Press, 2005. COLMAN, FELICITY J.: „Sound Manifesto – Lee Ranaldo's notes for Robert Smithson“. In: Goddard, Michael; Halligan, Benajmin; Hegarty, Paul (Hg.): Reverberations, The philosophy, aesthetics and politics of noise. London: Continuum, 2012. CONNOR, STEVEN: „The Help of Your Good Hands – Reports on Clapping“. In: The Auditory Culture Reader. Oxford & New York: Berg, 2003. BIBLIOGRAPHIE | 413 COVACH, JOHN; FLORY, ANDREW: What’s that

-2006 MA-Studium Popular Music Studies an der ZU DEN AUTOREN 163 University of Liverpool. Seit 2007 Doktorand an der Humboldt Universität Berlin, Dissertationsthema »Global Politics, Terrorism and Popular Music: Power and Responsibility for the Music Industry after ›9/11‹«. • Email: ASPM Arbeitskreis Studium Populärer Musik e.V. Der ASPM ist der mitgliederstärkste Verband der Popularmusik- forschung in Deutschland. Der ASPM fördert fachspezifische und interdisziplinäre Forschungsvor- haben in allen Bereichen populärer Musik

politics and Aesthetics of Transnational Musics, in: The world of music 35/2 (1993), S. 3-15. Eyre, Banning, „Vampire Weekend Interview“, multi/interview/ID/142, Zugriff am 16.05.2013. Farin, Klaus, Eberhard Seidel-Pielen, Skinheads, München 1993. Featherstone, Mike (Hrsg.), Global Culture. Nationalism, globalization and modernity, London 1990. Ders., „Global Culture: An Introduction“, in: ders. (Hrsg.), Global Culture, S. 1-14. Featherstone, Simon, Postcolonial Cultures, Edinburgh 2005. Ferguson, Isaac, „,So much things to say‘: The journey

, Anatolian Rock stations itself either as pro-rural,16 such as the group Moğollar who pose in rural costumes for the cover of their single Cığrık17, or it demonstrates urbanity, which could even take quite radical aspects, as in several photos of Koray naked with an electric guitar.18 Politically, the two stylistic positions are also drifting in opposite direc- tions: despite of some rebellious attitudes, Arabesk music is mainly shaped by a rather conservative, fatalistic belief in a paternalist-hierarchical way of life (cf. Bulut/Kaya 2010), whereas Anatolian Rock

defined. Considering the use of this term is crucial because since the trans-Atlantic slave trade in the 17th century and the colonial exploration of the continent Nepomuk Riva130 in the 19th century, Europeans always created an image of Africa that sup- ported their political and economic interests. Following Edward Said’s the- ory of orientalism (Said 1979), Europeans constructed a collective image of the whole continent as a counterpart to Europe, meaning “uncivilized”, “hea- then”, “wild” and “animalistic”. Therefore, if producers of these cross-over al- bums

Sibelius weren’t born in the 1860s like Mahler and Strauss and hadn’t composed his Kullervo and Finlandia in the 1890s, but 20 or 30 years earlier: Who knows, if independence efforts in Finland wouldn’t have begun earlier […]. Certainly, Finnish identity is essential for a deeper understanding of Sibelius’s music.” (Steinbeck/Blumröder 2002: 26; my trans- lation.) The geographical, ethnical, and political state of Finland at the time is considered the basis for the national, late-romantic symphony (or rather symphonic music). Steinbeck focuses on early symphonies

« (Krugmann 2003). Krugmans Vermutung gewinnt weitere Plausibilität, denkt man an die schwarze Liste von 150 Songs, die nach den Anschlägen vom 11. September zwischen den Stationen des Clear Channel-Netzwerks zirkulierte (s. S. 60f.). Er führt weiter aus: »Until now, complaints about Clear Channel have focused on its business practices. Critics say it uses its power to squeeze recording companies and artists and contributes to the growing blandness of broadcast music. But now the company appears to be using its clout to help one side in a political dispute that

. Das heißt, sie haben Bedeutung für etwas beziehungsweise für jemanden. Sie sind also zweitens nicht isoliert zu untersuchen, sondern immer in ihrem po- litischen, sozialen und kulturellen Kontext. »Sounds and their meanings are shaped by the cultural, economic, and political contexts in which they are produced and heard.«15 Auditive Geschichte ist demnach nur als Teil einer allgemeinen Geschichte sinnvoll, in der sich Klang und Kontext wechselseitig erhellen. Im Übrigen ist Smith ebenso wie Corbin nicht allein an einer Ge- schichte des Hörens interessiert