Heesch, Florian
Preferred name
Heesch, Florian
Email
florian.heesch@uni-siegen.de
ORCID
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Publication Access status: Open Access , Developing educational spaces for new communities of practices: Ghanaian highlife at a German university(2024)This paper reflects on a pedagogical intervention with Ghanaian students who taught highlife music at a German university as part of a workshop. The reflection is based on empirical data from participant observation, conversations with the participants and reflection reports from the German students at the end of the workshop seminar. From the perspective of the German students, cultural differences were observed with regard to group learning, memorising music and orientation towards structures. The repeated references to the absence of sheet music reveal the continuing dominance of notation in music education in Germany. The article discusses the concept of shared educational spaces for decolonial approaches to learning popular music and for critical reflection on high/low differences.Source Type:BookSeries:Transformationen des Populären. Working Paper Series des SFB 1472Volume number:162 5 - Some of the metrics are blocked by yourconsent settings
Publication Access status: Metadata only , Metal Ballads as Low Pop? An Approach to Sentimentality and Gendered Performances in Popular Hard Rock and Metal Songs(2023); Ballads are often among the bestselling songs of heavy metal and hard rock bands. Within these genres, ballads represent a way to address emotions such as love that are not part of the primary self-understanding of those genres. Still, “genre ideals and style” often seem to be at odds with the sentimental aesthetics of the ballad and its emotional expression and experience. In this Article, we take a close look at the sonic, textual, performative, visual, and emotional-somatic articulation of love and the generation of sentimentality in three selected metal ballads. Even if the term “power ballad,” which is often used in reference to hard rock and metal ballads, refers to the simultaneity of “heaviness” in the sound and the thematization of love in the lyrics, sentimental ballads in the stereotypically more masculine-connotated genres nevertheless create friction and skepticism in their discursive evaluation, as they generate aesthetic discrepancies between concrete songs and genre conventions. Their quantitative popularity contrasts with their qualitative evaluation. Therefore, in a second step, we analyze the reception of the selected ballads, in particular their discursive evaluations in music reviews, in order to point out the ways of argumentation through which frictions are established. As a result, we show that evaluations are related to how love is addressed in the songs and to the extent of proximity of the ballads to genre rules.Source Type:Article1
