Singing through the bars: prison songs as identity markers and as cultural heritage
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English Swedish |
| Veröffentlicht: |
Stockholm
Svenskt Visarkiv/Statens Musikverk
[2018]
|
| Schriftenreihe: | Skrifter / Svenskt Visarkiv
44 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 210 Seiten Illustrationen, Diagramme, Notenbeispiele |
| ISBN: | 9789198192612 |
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Datensatz im Suchindex
| _version_ | 1804181351006470144 |
|---|---|
| adam_text | Contents FOREWORD · THE MEETING 9 ■ 11 PRISON SONGS BECOME CULTURAL HERITAGE · I7 Voices from Outside..................................................................................... 17 Collecting Prison Songs............................................................................... 19 Anonymisation of Informants..................................................................... 22 Birdsong and Prison Songs.......................................................................... 24 A Society within Society, 26. A Few Words about the History of the Correctional Treatment System, 32. Music as an End and as a Means — a Theoretical Point of Departure, 33 What are Prison Songs?................................................................................ On the Term “Kăklăf/clink tune, 40 34 The Material................................................................................................... 42 Sundin’s and Skarpes Collecting Project, 42. Ternhag’s Collecting Project, 44. Robert Robertssons Collection, 48. New Documentation, 51. Other Material atthesvA,įi. Jailbird Singers, 51. The lp Kåklåtar, 55 Men and Women........................................................................................... 59 Prison Songs and Cultural Heritageing..................................................... Identification, 64. Categorisation, 64. Standardisation, 65. Symbolisation, 65. 60 And Now to the Songs.................................................................................. 66
VOICES OF THE INDIVIDUAL AND THE COLLECTIVE · 67 Analysis of the Songs............................................................................... Categorising of the Material.................................................................... The Voice of the Individual — the Older Category of Songs.................. 67 70 72 Form and Language, 73. Crime and its Causes, 75. The Prisoner’s Predicament, 79. Regret, 85. Longingfor Freedom, 86. The Future — Once the Sentence is Served, 89 The Voice of the Collective — the Newer Song Category...................... 9Յ The Crime, 96. Distancingfrom Society, 97. Group Identity and Language, 98. Criti cism of the Criminal Treatment System and of Society, 101. Life after Prison, 104 Something about Other Song Genres..................................................... 105 Speed Songs, 107. Erotic Songs, 109 The Transmission of Prison Songs........................................................... 115 Scrawls on Walls, 118. From Waltz to Shuffle, 123 The Creative Process................................................................................. 127 The Solitary Confinement Cell as a Writer’s Cottage, 128. The Prison Revues, 131. Through the Bars — Peder Bläck, 131 “ONE θ’ THEM BLOKES WHAT COULD PLAY” · I37 Konvaljen.................................................................................................. Interviews as a Primary Source................................................................ Childhood.................................................................................................. Prisons and
Music..................................................................................... Hall Prison................................................................................................. m N w and Kåklåtar.................................................................................... Konvaljen and Robert............................................................................... Solo Album................................................................................................ Out of the Limelight.................................................................................. WHY DO PRISONERS SING? · 137 139 143 146 149 152 156 160 163 169 Clink Tunes in Transition......................................................................... Voice of the Individual and Voice of the Collective................................ Clink Tunes as a Genre.............................................................................. 169 169 173
Interplay — Clink Tunes, Archives and Media.......................................... Г75 The Interest Affects the Genre, 178. Identification of Clink Tunes, 179. Categorising the Tunes, 180. Standardisation and Archive Loops, 182. Symbolical Tunes, 184. Cultural Heritageing Creates Clink Tunes, 186 Patterns ofChange........................................................................................ 187 Social Criticism and New Tunes, 188. Changed Meaning and New Forms ofExpres sion, 190. Effects of the Changes, 193 Clink Songs Today........................................................................................ 194 Gangstarap, 195 Music as an End............................................................................................ 200 ...and as a Means, 201 The Archives, the Music and People on the Margins............................... Some Final Words, 204 SOURCES AND LITERATURE · 205 201
|
| adam_txt |
Contents FOREWORD · THE MEETING 9 ■ 11 PRISON SONGS BECOME CULTURAL HERITAGE · I7 Voices from Outside. 17 Collecting Prison Songs. 19 Anonymisation of Informants. 22 Birdsong and Prison Songs. 24 A Society within Society, 26. A Few Words about the History of the Correctional Treatment System, 32. Music as an End and as a Means — a Theoretical Point of Departure, 33 What are Prison Songs?. On the Term “Kăklăf/clink tune, 40 34 The Material. 42 Sundin’s and Skarpes Collecting Project, 42. Ternhag’s Collecting Project, 44. Robert Robertssons Collection, 48. New Documentation, 51. Other Material atthesvA,įi. Jailbird Singers, 51. The lp Kåklåtar, 55 Men and Women. 59 Prison Songs and Cultural Heritageing. Identification, 64. Categorisation, 64. Standardisation, 65. Symbolisation, 65. 60 And Now to the Songs. 66
VOICES OF THE INDIVIDUAL AND THE COLLECTIVE · 67 Analysis of the Songs. Categorising of the Material. The Voice of the Individual — the Older Category of Songs. 67 70 72 Form and Language, 73. Crime and its Causes, 75. The Prisoner’s Predicament, 79. Regret, 85. Longingfor Freedom, 86. The Future — Once the Sentence is Served, 89 The Voice of the Collective — the Newer Song Category. 9Յ The Crime, 96. Distancingfrom Society, 97. Group Identity and Language, 98. Criti cism of the Criminal Treatment System and of Society, 101. Life after Prison, 104 Something about Other Song Genres. 105 Speed Songs, 107. Erotic Songs, 109 The Transmission of Prison Songs. 115 Scrawls on Walls, 118. From Waltz to Shuffle, 123 The Creative Process. 127 The Solitary Confinement Cell as a Writer’s Cottage, 128. The Prison Revues, 131. Through the Bars — Peder Bläck, 131 “ONE θ’ THEM BLOKES WHAT COULD PLAY” · I37 Konvaljen. Interviews as a Primary Source. Childhood. Prisons and
Music. Hall Prison. m N w and Kåklåtar. Konvaljen and Robert. Solo Album. Out of the Limelight. WHY DO PRISONERS SING? · 137 139 143 146 149 152 156 160 163 169 Clink Tunes in Transition. Voice of the Individual and Voice of the Collective. Clink Tunes as a Genre. 169 169 173
Interplay — Clink Tunes, Archives and Media. Г75 The Interest Affects the Genre, 178. Identification of Clink Tunes, 179. Categorising the Tunes, 180. Standardisation and Archive Loops, 182. Symbolical Tunes, 184. Cultural Heritageing Creates Clink Tunes, 186 Patterns ofChange. 187 Social Criticism and New Tunes, 188. Changed Meaning and New Forms ofExpres sion, 190. Effects of the Changes, 193 Clink Songs Today. 194 Gangstarap, 195 Music as an End. 200 .and as a Means, 201 The Archives, the Music and People on the Margins. Some Final Words, 204 SOURCES AND LITERATURE · 205 201 |
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| spelling | Lundberg, Dan 1959- Verfasser (DE-588)142913936 aut Kåklåtar Singing through the bars prison songs as identity markers and as cultural heritage Dan Lundberg ; translated from Swedish by Fred Lane Stockholm Svenskt Visarkiv/Statens Musikverk [2018] © 2018 210 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Skrifter / Svenskt Visarkiv 44 Geschichte 1960-1975 gnd rswk-swf Volkslied (DE-588)4063852-2 gnd rswk-swf Lied (DE-588)4035669-3 gnd rswk-swf Gefängnis (DE-588)4071628-4 gnd rswk-swf Schweden (DE-588)4077258-5 gnd rswk-swf Schweden (DE-588)4077258-5 g Gefängnis (DE-588)4071628-4 s Lied (DE-588)4035669-3 s Volkslied (DE-588)4063852-2 s Geschichte 1960-1975 z DE-604 Lane, Fred trl Svenskt Visarkiv Skrifter 44 (DE-604)BV000001737 44 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032061158&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Lundberg, Dan 1959- Singing through the bars prison songs as identity markers and as cultural heritage Volkslied (DE-588)4063852-2 gnd Lied (DE-588)4035669-3 gnd Gefängnis (DE-588)4071628-4 gnd |
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| title | Singing through the bars prison songs as identity markers and as cultural heritage |
| title_alt | Kåklåtar |
| title_auth | Singing through the bars prison songs as identity markers and as cultural heritage |
| title_exact_search | Singing through the bars prison songs as identity markers and as cultural heritage |
| title_exact_search_txtP | Singing through the bars prison songs as identity markers and as cultural heritage |
| title_full | Singing through the bars prison songs as identity markers and as cultural heritage Dan Lundberg ; translated from Swedish by Fred Lane |
| title_fullStr | Singing through the bars prison songs as identity markers and as cultural heritage Dan Lundberg ; translated from Swedish by Fred Lane |
| title_full_unstemmed | Singing through the bars prison songs as identity markers and as cultural heritage Dan Lundberg ; translated from Swedish by Fred Lane |
| title_short | Singing through the bars |
| title_sort | singing through the bars prison songs as identity markers and as cultural heritage |
| title_sub | prison songs as identity markers and as cultural heritage |
| topic | Volkslied (DE-588)4063852-2 gnd Lied (DE-588)4035669-3 gnd Gefängnis (DE-588)4071628-4 gnd |
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