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dc.contributor.authorNærland, Torgeir Ubergeng
dc.date.accessioned2015-02-19T08:28:05Z
dc.date.available2015-02-19T08:28:05Z
dc.date.issued2015eng
dc.identifier.issn1540-5710
dc.identifier.issn1540-5702
dc.identifier.urihttps://hdl.handle.net/1956/9405
dc.description.abstractMusical communication is widely understood to be too elusive and abstract to have any discernible significance for political public discourse. However, in the aftermath of the Utøya-massacre there have been several instances where hip hop music and performances have been subjected to politicised debate in the Norwegian public sphere. Based on a qualitative case study of the media reception of the Norwegian hip hop group, Karpe Diem, this study finds that their music both provoked, and fed into, extensive public debates concerning topical cultural and political issues. Moreover, this study outlines the process through which Karpe Diem and their music came to be publicly identified, and responded to, as politically significant. Based on the evidence of the findings, this article further argues that hip hop music fills a peripheral (yet significant) function in the model of the political system as outlined by Habermas (2006).en_US
dc.language.isoengeng
dc.publisherTaylor & Franciseng
dc.relation.ispartof<a href="http://hdl.handle.net/1956/9402" target="blank">Music and the public sphere: Exploring the political significance of Norwegian hip hop music through the lens of public sphere theory</a>eng
dc.titleFrom musical expressivity to public political discourse proper: the case of Karpe Diem in the aftermath of the Utøya massacreeng
dc.typePeer revieweden_US
dc.typeJournal articleen_US
dc.description.versionacceptedVersion
dc.rights.holderCopyright Taylor & Francis. All rights reserved.en_US
dc.source.journalPopular Communication
dc.source.4013
dc.source.143


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