Vorlesungsverzeichnis

Vorlesungsverzeichnis

Suchen Sie hier über ein Suchformular im Vorlesungsverzeichnis der Leuphana.

Start > Leuphana Bachelor (B.A./B.Eng./B.Sc./LL.B.) -> Major Kulturwissenschaften -> Projektmodul Kulturorganisation und -kommunikation

Lehrveranstaltungen

"Groove the City" Urbane Musikpolitiken zwischen informellen Netzwerken und institutioneller Steuerung - Konferenzorganisation (Seminar)

Dozent/in: Lisa Gaupp

Inhalt: With their social, material and cultural resources, cities have been and still are a precondition for the emergence and flourishing of music scenes; they are central turning points of the production, distribution and consumption of acoustic capital. The close connection between music and the city has been illustrated by genre terms such as Viennese Waltz, New Orleans Jazz, Chicago Blues and Liverpool Sound or trademarks such as London Symphony, Salzburg Festival or Hamburg State Opera. They point out to municipalities where an orchestra, a school or a group is situated, the town where particular events take place, or specific urban conditions from which specific musical genres originate. The relationship between the two, city and music, is dynamic and reciprocal. Music is a central part of urban culture; it forms communities and acts as a symbolic resource, contributing to the self-awareness of its inhabitants as being “urban” and in some cases even to the cultural identity of the city itself. And the “urban” is a central part of music; music mines and scoops urban particularities, and musical compositions are shaped by the urban settings they have been created in. Although music always made a crucial contribution to the complexity of urban developments, lifestyles and identity, after the 1990s and especially in the new millennium the role of music for cities gained an importance unknown before. Especially in the neo-liberal discourses about “music and city”, production, distribution and consumption are embed into a complex bundle of mutually interwoven factors, which go far beyond the traditional understanding of musical culture as art. The main issues of discussion are now a growing significance of musical organization for the creative economy, the post-industrial regeneration of de-industrialized parts of towns, city branding and marketing, city planning, interurban competition, and tourism. An instrumentalization for such secondary purposes prevails the discourse. Since the relationship between music and the city appears on various levels closer or more distant from cultural aspects, and within differing contexts of production, distribution and consumption, they are subject to different kinds of city policies, political attention, legal regulation, and economic interests. Although in practice municipal policies might differ from case to case, they sit on a broad spectrum between two contrasting modes of operation. As a (criticizable) example for a top-down planning principle, music has been used by the “creative city” paradigm by purposefully connecting “music” and “city” to giving a city the attribute of being “creative”. Examples of key policy-makers from local districts to high-ranking political institutions can be readily found, e.g., UNESCO (UNESCO Creative Music Cities program), the European Union (European Capitals of Culture), and many national political bodies. This post-industrial search for urban futures also gives birth to new, predominantly economically oriented agents (Sound Diplomacy), who promise a policy to supporting governments by maximizing the value of music for building it into the urban environment. This discourse is limited to the Northern hemisphere and completely neglects wide parts of the world, such as the “Global South”, e.g., there are only two UNESCO Music Cities in Africa, and none in the Arab region. The implementation of this political agenda results in substantial (public) investments, such as the building of new opera houses and concert halls (e.g., Elbphilharmonie in Hamburg; the Royal Opera House in Abu Dhabi; Guangzhou Opera in Western China), even though the public of “classical music” is comparatively small. Furthermore, there is also a growing culturalization of cities through popular music genres, especially by festivalization and mega-events, such as the New York Music Month, the Paris Hip Hop Festival, or the Rio Music Carnival in Rio de Janeiro. Many of the informal urban musical practices of these and other cities are ignored and excluded from the events that are based on neoliberal approaches of city marketing and policies. On the other side, juxtaposing the macro system of the above “urban political economy”, we find culturally and socially diverse micro networks, music scenes and DIY practices. These structures are in most cases globally connected, but they serve predominantly local communities, work creatively with limited funds and often anticipate emerging cultural trends. Contrary to the top-down politics of the “urban growth coalition”, these bottom-up approaches are connected to other initiatives, promoting human rights, sustainability goals, and the democratic “Right to the City”. These micro spheres of production, distribution and consumption rarely profit from the official fostering of music but suffer under the commercialization of public spaces and gentrification, destroying their fragile infrastructure (e.g. the death of grass-roots music clubs). They develop alternative forms of governance and try to resist the neo-liberal exploitation of industrial music markets.

Leuphana Bachelor - Major Kulturwissenschaften - Projektmodul Kulturorganisation und -kommunikation

Kulturbranding und Digitalisierung: Internationale Kulturmarken im Markenaudit (Seminar)

Dozent/in: Christian Holst

Inhalt: Die interaktive Kommunikationskultur in den digitalen Netzwerkmedien, die auch als „Mitmachweb“ bezeichnet werden, stellt neue Herausforderungen an die Markenführung. E-Branding, Swarm Branding und Co-Creative Branding sind Konzepte aus Forschung und Literatur, die auf diese Herausforderung reagieren. In der Praxis denken öffentlich finanzierte Kultureinrichtungen in aller Regel jedoch noch stark angebotsorientiert und wenig ko-kreativ und tun sich mit der neuen Kommunikationskultur ebenso schwer wie mit neuen Ansätzen der Markenführung. Gleichzeitig gewinnt die identitätsorientierte Markenführung angesichts der enormen Flut an Informations- und Kommunikationsangeboten jedoch auch für Kultureinrichtungen an Bedeutung. Denn starken Marken gelingt es in diesem unübersichtlichen und unverbindlichen digitalen Kommunikationsumfeld besser, das Vertrauen (potenzieller) Besucher zu gewinnen und eine emotionale Bindung herzustellen. In dem Seminar wollen wir uns daher damit beschäftigen, was die Voraussetzungen erfolgreicher digitaler Markenführung im Kultursektor aus theoretischer Sicht sind und anhand welcher Kriterien sich effektive digitale Markenstrategien in der Praxis identifizieren lassen. Vor diesem Hintergrund untersuchen wir digitale Markenpräsenzen ausgewählter internationaler Kulturmarken. Die methodische Grundlage für die Analyse bildet das Konzept des "Markenaudits für Kultureinrichtungen“ (MAK) nach Baumgarth et al. Im Rahmen des Markenaudits entwickeln die Teilnehmer einen Evaluationsleitfaden mit geeigneten Indikatoren und wenden diesen bei digitalen Markenkontaktpunkten an. Die erhobenen Daten werden operationalisiert und in geeigneter Form präsentiert und reflektiert.

Leuphana Bachelor - Major Kulturwissenschaften - Projektmodul Kulturorganisation und -kommunikation

Netzwerke der Kultur - theoretische Basis und empirische Überprüfungen (Seminar)

Dozent/in: Lutz Dollereder, Volker Kirchberg

Termin:
14-täglich | Dienstag | 16:15 - 19:45 | 15.10.2018 - 01.02.2019 | C 40.108 Seminarraum

Inhalt: Dieses Seminar wird in die verschiedenen quantitativen und qualitativen Facetten der Netzwerktheorie und -analyse einführen. Im zweiten Teil des Seminars werden in komprimierten Blockterminen (häufig am Wochenende!) empirischen Kurzstudien in diversen Kultureinrichtungen durchgeführt. Zum Ende des Seminars werden die erhobenen Daten ausgewertet und interpretiert.

Leuphana Bachelor - Major Kulturwissenschaften - Projektmodul Kulturorganisation und -kommunikation