Massenkultur und Distinktion

Experiential knowledge

“…Such power relations are manifested in the discussion on particular genres or artists, but also through those performers or types of music that are not researched or written about -those who constitute history's silences. These power relations (and silences) can be understood as contributing to the formation of the musical canon, and rave's music is, perhaps unsurprisingly, absent from it as a focus on the beat and rhythm is considered inferior to a composition with a harmonic idea (MacDonald 2008) Siegfried (2019) confirms this view when arguing that taste cultures are visible in both journalistic and scholarly writing on popular music, as aesthetic judgements are applied. He goes even further and argues that popular music historians use the criteria of their specific taste cultures to distinguish themselves from the very world of the popular and everyday or 'fan' and consumer discourse.…”