Abstract
Focussing on music as a locus of power relations, this article explores
how individuals’ musical experiences may be discursively mediated.
Drawing on Interpretative Phenomenological Analysis (IPA) and aspects
of Critical Discourse Analysis (CDA) it specifies some of the ways in
which a small sample of interviewed jazz musicians and audience
members active on the jazz scenes of mid 1990s and early 2000s
Durban and Johannesburg used aspects of their musical experiences
to affirm or contest aspects of their membership within larger social
groupings defined by generation, language identity, and gender. At an
epistemological and theoretical level the article tentatively proposes
that combining IPA and CDA may be a productive way to explore – in
some empirical detail – how larger societal dynamics find expression at
a unitary individual level of musical experience.
how individuals’ musical experiences may be discursively mediated.
Drawing on Interpretative Phenomenological Analysis (IPA) and aspects
of Critical Discourse Analysis (CDA) it specifies some of the ways in
which a small sample of interviewed jazz musicians and audience
members active on the jazz scenes of mid 1990s and early 2000s
Durban and Johannesburg used aspects of their musical experiences
to affirm or contest aspects of their membership within larger social
groupings defined by generation, language identity, and gender. At an
epistemological and theoretical level the article tentatively proposes
that combining IPA and CDA may be a productive way to explore – in
some empirical detail – how larger societal dynamics find expression at
a unitary individual level of musical experience.
| Original language | English |
|---|---|
| Pages (from-to) | 262-289 |
| Number of pages | 28 |
| Journal | South African Music Studies |
| Volume | 34 |
| Issue number | 1 |
| Publication status | Published - 2015 |