On ESC (rewritten)
I can't believe that my thesis actually will include a section dedicated to the Eurovision Song Contest.
I am a bit embarassed of the obvious connotations it poses
On the other hand, the reason why I have included such an analysis is (perhaps surprisingly) academically defendable! I have chosen to include a eurovision entry as a case study in order to emphasis the very complex question of authenticity. In what way will recognition the artist's authentic credibility colour the spectactor's experience? This question must always be treated in the study of popular music meaning, nevertheless, because the ESC as an arena for performance is so evidently politically structuralized, authenticity must be especially emphasized in any analysis of an ESC entry. The political outlines of the ESC have caused a trend of nationalism andd patriotism within the seperate entries. Playing on stereotypical aural and visual effects that geographically maps the specific entry, the artist's put on exaggerated displays of patriotism. The ESC is not really a contest of pure music, for many countries it actually has become a battlefield of politic agendas. A very strange arena indeed.
In this matter, the study of musical meaning and interpretation becomes problematic because of the ruling trends of musical and visual formula in the contest. Indeed, one can usually recognize a song as "EURO" without even knowing it is participating in the contest. The contest itself poses certain musical and scenographic criterias for recognition, which most countries (with certain exceptions of course, but they seldom do good in the contest) seem to follow.
The question of authenticity arises in the following; to what extent is the song's semiotics a result of these unwritten rules?
To what extent can the songs come off as original, and heartfelt?
Even though the songs clearly tries to underline why that specific country is great, does it really come off credible?
I find t most participants to fake it.
In other words, I seldom engage in the display of geographical celebration. I do not feel the heart and soul of the french people in the French ballad. I do not feel the temperament of the spanish. Neither do I feel the cultural heritage in Alexander Rybak's fiddle playing.
Nevertheless, it's still an enjoyable fare - and why is this?
Well, I would claim it has something to do with the fact that when I turn on the telly to watch ESC, I am fully aware of the contest's formula, and so I do not expect the songs to be anything beyond this tradition - Because the ESC ideology is to unite Europe; the contest as arena for performance indeed poses implications for how to win the contest. And artistic honesty certainly has not proved to be a part of the winning recipie. Rather, it's the exact opposite. Exaggerated camped up virtual postcards. But, the music can still be of good quality, the musicians are usually quite great, and the stage shows gets wilder every year.
All in all, I think this the reason why most people won't usually admit that they watch the show.
is fact that there is no honesty about the competition. The same song wins every year, and only because it presents its country in an over the top nationalistic manner.
I read a good quote on ESC once:
Even intelligent people with good taste in music have taken to pronouncing Eurovision in respecful tones, but it is really the 'Euro' part of the word they revere
Real? No
Entertaining? Hell Yeah
Speaking of,
Watched the national finals yesterday. I do believe that Rybak's song has the most potential to make a statement in the international final. However, I am not personally that fond of Rybak as an artist. I think he comes off cocky, and not in an attractive or sympathic way.
Oh, and Valdres people: did you recognise Hallgrim from the dancers?
I am a bit embarassed of the obvious connotations it poses
On the other hand, the reason why I have included such an analysis is (perhaps surprisingly) academically defendable! I have chosen to include a eurovision entry as a case study in order to emphasis the very complex question of authenticity. In what way will recognition the artist's authentic credibility colour the spectactor's experience? This question must always be treated in the study of popular music meaning, nevertheless, because the ESC as an arena for performance is so evidently politically structuralized, authenticity must be especially emphasized in any analysis of an ESC entry. The political outlines of the ESC have caused a trend of nationalism andd patriotism within the seperate entries. Playing on stereotypical aural and visual effects that geographically maps the specific entry, the artist's put on exaggerated displays of patriotism. The ESC is not really a contest of pure music, for many countries it actually has become a battlefield of politic agendas. A very strange arena indeed.
In this matter, the study of musical meaning and interpretation becomes problematic because of the ruling trends of musical and visual formula in the contest. Indeed, one can usually recognize a song as "EURO" without even knowing it is participating in the contest. The contest itself poses certain musical and scenographic criterias for recognition, which most countries (with certain exceptions of course, but they seldom do good in the contest) seem to follow.
The question of authenticity arises in the following; to what extent is the song's semiotics a result of these unwritten rules?
To what extent can the songs come off as original, and heartfelt?
Even though the songs clearly tries to underline why that specific country is great, does it really come off credible?
I find t most participants to fake it.
In other words, I seldom engage in the display of geographical celebration. I do not feel the heart and soul of the french people in the French ballad. I do not feel the temperament of the spanish. Neither do I feel the cultural heritage in Alexander Rybak's fiddle playing.
Nevertheless, it's still an enjoyable fare - and why is this?
Well, I would claim it has something to do with the fact that when I turn on the telly to watch ESC, I am fully aware of the contest's formula, and so I do not expect the songs to be anything beyond this tradition - Because the ESC ideology is to unite Europe; the contest as arena for performance indeed poses implications for how to win the contest. And artistic honesty certainly has not proved to be a part of the winning recipie. Rather, it's the exact opposite. Exaggerated camped up virtual postcards. But, the music can still be of good quality, the musicians are usually quite great, and the stage shows gets wilder every year.
All in all, I think this the reason why most people won't usually admit that they watch the show.
is fact that there is no honesty about the competition. The same song wins every year, and only because it presents its country in an over the top nationalistic manner.
I read a good quote on ESC once:
Even intelligent people with good taste in music have taken to pronouncing Eurovision in respecful tones, but it is really the 'Euro' part of the word they revere
Real? No
Entertaining? Hell Yeah
Speaking of,
Watched the national finals yesterday. I do believe that Rybak's song has the most potential to make a statement in the international final. However, I am not personally that fond of Rybak as an artist. I think he comes off cocky, and not in an attractive or sympathic way.
Oh, and Valdres people: did you recognise Hallgrim from the dancers?