This chapter examines how open mic events are connoted with concepts of artistic authenticity. As part of a larger field study, it is based on qualitative interviews with people involved in the singer-songwriter open mic community in Hamburg, Germany. Open mics are events held in small venues like bars, community centers or small theaters, which provide short slots of stage time for everyone who wishes to perform. In Hamburg, several venues host open mic events, including those for singer-songwriters and those that are open for all kinds of performances. Singer-songwriters are often connoted with concepts of authenticity, as their songs are seen as intimate expressions of the artistʼs feelings and personality. Many regular guests and participants of open mics in Hamburg see this type of event as one in which the authenticity of the acts is particularly ensured, because the presented art is not filtered: people can just show up and perform their songs as they mean them to be. In this spirit, open mics are idealized by many of their proponents as spheres of artistic freedom where the demands of music industries, fashions and social media trends are mostly absent or at least ignored. Nevertheless, for ambitious artists, playing open mics is seen as a starting point that needs to be left behind one day in favor of full concerts. For some, this transition is fraught with the danger of loss of authenticity.
„Konzepte von Authentizität in der Hamburger Open Mic-Community“ weiterlesen“Sometimes it Feels Like Being in a Parallel World”. Life Worlds and (Gendered) Challenges of Women Songwriters in Germany
This chapter is based on a qualitative interview study of the life worlds of ten women songwriters in Germany. It addresses the hypothesis that women songwriters, as part of the patriarchal structures of the music business, exist in a parallel society where they are underrepresented and confronted with gender-specific challenges that are often not perceived as such by their environment. The question of how the interviewees managed to gain a foothold in a male-dominated world is explored; the general and gender-specific challenges and stressors that come with the (musical) socialization and everyday life of songwriters are elaborated. Empowerment strategies are discussed and perspectives are presented that may contribute to a (structural) change and an improvement to the working and living conditions of songwriters.
CONTINUE READINGSongwriting Camps. Geschichte, Theorien und Erkenntnisse zur Fließband-Produktion von populärer Musik
This chapter looks at songwriting camps, a contemporary collaborative music production space convened by music publishers, record labels, aggregators or collecting societies. Creative professionals with different qualifications come together in these camps to divide the labor of writing songs in an assembly line fashion. Based on a literature review, this chapter provides historical insights and attempts to highlight developments. It discusses key issues around collaborative songwriting to evaluate how recent songwriting camps fit into the practices of popular music songwriting dating back to the early twentieth century. The songwriting profession is characterized by opposites, as is its recent manifestation in camps: Songwriting is fundamentally creative and liberating, but also formulaic and bound by various musical, creative, social, organizational and legal constraints. Commercial songwriting can be personal, expressive and authentic, but usually takes place within structures that are primarily geared towards commercial exploitation and success. Songwriting camps are the most recent manifestation of the assembly line production of popular music and perhaps represent the culmination of these frictions.
„Songwriting Camps. Geschichte, Theorien und Erkenntnisse zur Fließband-Produktion von populärer Musik“ weiterlesen