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Julia Ehmann is originally from Germany. She joined Oxford Brookes in 2013 as a music research student in the School of Arts. Her thesis title is 'Radiohead and the Uses of Genre'.
My PhD deals with conceptions of style in the music of Radiohead and argues for a relevance of discourse-based approaches for the study of popular music genres. In particular, I am interested in exploring the idea of genre as a multidimensional system of meaning that allows for a number of different, yet equally valid, interpretations based on the varying listening conditions of different audience groups. A central aim of my work is to provide a new methodology for studying issues of musical categorisation and interpretation, which is available to people with varying musical backgrounds and from different disciplines.
Genre is a controversial and ambiguous concept that plays an important role for the ways in which popular music is perceived and evaluated on a daily basis. Informed by a vast number of individual perceptions and opinions, popular music genres are complex constructs that are subject to constant processes of change and progression. At the same time they also hold great descriptive value and are often used to convey particular sets of connotations within audience discussions and journalistic discourses.
In my research I explore the possibilities of a study of generic diversity in individual musical oeuvres and specifically in the music of Radiohead, which is based on a combined analysis of text-based characteristics and critical discourses. Both approaches can be useful as they highlight two different but often complimentary sides of generic meaning – the intended meaning originating from musicians, composers or producers as well as the perceived meaning on the side of the audience. Therefore, by looking at genre discourses, one can gain valuable insights into the various uses and functions of genres as well as their influence on the contents of particular discussions and perceptions.
Over the years since their formation Radiohead´s music has become the subject of a particularly wide and varied discourse on genre that has influenced journalists and wider audiences alike. In the popular music press the band has been assigned a multitude of different genre categories ranging from labels such as post shoe-gazing, progressive rock and post-rock, to ambient, dance or electronic music. It is this generic diversity that I am particularly interested in. My research aims to explore how these different interpretations of genre can originate from the same musical work and to what extent their study can be useful to achieve a better understanding of the nature of genre during the course of music analysis.
My research topic is largely based on previous work undertaken during my BA and MA studies, but my time at Brookes has given me the opportunity to develop some of my ideas further by exploring the relevance of genre as a way into music analysis. In 2011 I graduated from the University of Hamburg with a BA in Historical Musicology and History. While my undergraduate studies were largely focused on the methodologies and debates of classical music, they also allowed me a first glimpse at popular music studies as an academic discipline and opened up new perspectives on the various ways in which these different kinds of music could be approached and analysed. My history studies in particular made me aware of the considerable impact discursive sources and oral histories can have on the study of musical matters and soon led me to develop a new fascination with the possibilities of integrating reception-based methodologies into my work. This, paired with my long-standing interest and previous involvement in music-journalism, gave me a new outlook on music interpretation and the different ways in which the study of individual listener accounts can contribute to the understanding of music and popular music in particular.
While studying for my MA degree at Goldsmiths, University of London, which I completed in 2012, I had the chance to focus on the subject of popular music as my main research area. My MA dissertation allowed me to explore some of the ideas that have influenced my PhD studies so far. It also gave me the opportunity to explore new methodologies on a more individualised basis and develop strategies for the inclusion of journalistic sources into the study of popular music, which have served as a starting point for my current research. In particular my time at Goldsmiths prepared me for dealing with the differences and difficulties that studying in another country often seems to present, while also presenting me with the invaluable experience of encountering my chosen area of study from the new and very interesting angle of a different academic environment.
While the study of popular music in the UK developed over the course of the last thirty years, in Germany the discipline is still evolving as part of the wider field of music related studies and so is slightly less academically established. During my time at the University of Hamburg, my class was one of the first to be able to choose popular music modules from an otherwise classical musicology degree curriculum. Thus having been able to study popular music subjects and methodologies in both countries I have incredibly interesting insights into the different perspectives and development stages involved. It has allowed me to form a more all-encompassing and transnational view of the discipline. Additionally it prepared me to deal with different or contradicting approaches and methodologies in my research and made me aware of the many ways in which these different perspectives could be beneficial for my explorations of popular music genres. Finally it has given me the chance to conduct research on a topic and work in a discipline that is still very new in the academic environment of my country, which is one of the reasons why studying at Brookes has been a very unique opportunity and fascinating experience so far.