{"id":133146,"date":"2016-11-14T15:52:03","date_gmt":"2016-11-14T14:52:03","guid":{"rendered":"http:\/\/foreningforalla.se\/?p=133146"},"modified":"2020-05-27T23:56:38","modified_gmt":"2020-05-27T21:56:38","slug":"musik-och-makt-i-civilsamhallet","status":"publish","type":"post","link":"https:\/\/trinambai.se\/en\/musik-och-makt-i-civilsamhallet\/","title":{"rendered":"Musik och makt i civilsamh\u00e4llet"},"content":{"rendered":"<p><strong><em>Historikern Johan Lindal har skrivit en masteruppsats om F\u00f6reningen Svenska Tons\u00e4ttare under mellankrigstiden. Den blev ett skolexempel p\u00e5 hur en liten intressef\u00f6rening kunde uppn\u00e5 en m\u00e4ktig position genom att anv\u00e4nda sina resurser p\u00e5 ett effektivt s\u00e4tt. H\u00e4r belyser han b\u00e5de mer och mindre positiva aspekter av deras tidiga verksamhet.<\/em><\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.trinambai.se\/wp-content\/uploads\/2016\/11\/43206.jpg\" alt=\"\" width=\"600\" height=\"402\" class=\"aligncenter size-full wp-image-268640\" srcset=\"https:\/\/www.trinambai.se\/wp-content\/uploads\/2016\/11\/43206.jpg 600w, https:\/\/www.trinambai.se\/wp-content\/uploads\/2016\/11\/43206-480x322.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 600px, 100vw\" \/><\/p>\n<p>Vad h\u00e4nder n\u00e4r konstn\u00e4rer organiserar sig och vilka m\u00e5l kan de uppn\u00e5 som de annars inte skulle ha kunnat? Det var en av de grundl\u00e4ggande fr\u00e5gorna jag ville besvara i mitt examensarbete om komposit\u00f6rf\u00f6reningen FST 1919-1939.<\/p>\n<p>Mellan 1900 och 1930 bildades m\u00e4ngder av f\u00f6reningar inom det svenska musiklivet, under en tid d\u00e5 stora delar av f\u00f6reningslivet och folkr\u00f6relserna h\u00f6ll p\u00e5 att inkorporeras mer i samh\u00e4llsbygget<strong>.<\/strong> 1918 bildades F\u00f6reningen Svenska Tons\u00e4ttare (FST) med m\u00e5let att \u201dfr\u00e4mja de svenska tons\u00e4ttarnas konstn\u00e4rliga och ekonomiska intressen\u201d. Det r\u00f6rde sig om en medlemssvag intressef\u00f6rening f\u00f6r konstmusiken som framf\u00f6r allt ville uppn\u00e5 sk\u00e4liga inkomster f\u00f6r komposit\u00f6rer. Inom loppet av 20 \u00e5r skulle FST emellertid komma att bli en viktig maktfaktor i hela det svenska musiklivet. Hur var det m\u00f6jligt?<\/p>\n<p>FST p\u00e5b\u00f6rjade sin verksamhet med knappt 40 medlemmar och n\u00e4stan helt utan ekonomiska medel. F\u00f6reningens styrkor var ist\u00e4llet av andra slag. Medlemmarna hade st\u00f6rst samlad <strong><em>kunskap<\/em><\/strong> inom sitt omr\u00e5de, de hade ett brett <strong><em>kontaktn\u00e4tverk<\/em><\/strong> i musiklivet och hade dessutom ett tydligt fokus p\u00e5 breda<strong> <em>fr\u00e5gor<\/em><\/strong> som intresserade alla medlemmar och d\u00e4r man ocks\u00e5 fick med sig andra organisationer. En s\u00e5dan fr\u00e5ga var \u00f6kat spelutrymme f\u00f6r samtida musik skriven och spelad av svenskar. Genom att kombinera dessa tre styrkor lyckades FST b\u00e5de bli trov\u00e4rdiga motparter till regeringen i fr\u00e5gor som t.ex. upphovsr\u00e4ttslagstiftning och skaffa sig ett stort f\u00f6rtroendekapital inom sj\u00e4lva musiklivet.<\/p>\n<p>I takt med att FST:s systerf\u00f6rening STIM (bildad 1923) b\u00f6rjade inkassera upphovsr\u00e4ttsliga avgifter f\u00f6r komposit\u00f6rernas r\u00e4kning fick FST \u00e4ven tillg\u00e5ng till stora ekonomiska resurser. Fr\u00e5n att fr\u00e5n b\u00f6rjan bara syssla med fr\u00e5gor som r\u00f6rde de egna medlemmarnas musik \u2013 den \u201dseri\u00f6sa\u201d konsert- och operamusiken \u2013 f\u00f6rvandlades FST snart till en underst\u00f6dsorganisation som delade ut anslag och bidrag till andra komposit\u00f6rer, sl\u00e4ktingar, orkestrar och musikf\u00f6reningar. FST kunde p\u00e5 s\u00e5 vis styra vem som fick vad och d\u00e4rmed vilken musik som faktiskt spelades. Samtidigt drevs FST i en riktning som innebar ett bredare ansvar. Att h\u00e5lla sig till sitt ursprungliga syfte blev en allt st\u00f6rre utmaning ju mer f\u00f6reningen v\u00e4xte, vilket starkt p\u00e5verkades av vilken typ av resurser de hade tillg\u00e5ng till. Mer pengar gav FST nya motparter av olika \u00f6nskv\u00e4rdhet.<\/p>\n<p>Det tidiga FST hade d\u00e4rtill en annan, mindre smickrande sida, best\u00e5ende av v\u00e4nskapskorruption och politiska skandaler. Ordf\u00f6rande 1925-1947, Kurt Atterberg, \u00e4r f\u00f6r efterv\u00e4rlden k\u00e4nd som nazistsympatis\u00f6r som fick st\u00e5 till svars efter v\u00e4rldskriget. Han var likas\u00e5 en auktorit\u00e4r musikpersonlighet med tydligt maktbeg\u00e4r och l\u00e5ngt ifr\u00e5n ensam om detta. Min unders\u00f6kning visade emellertid att \u00e5tminstone det senare till stor del var en produkt av hur musiklivet fungerade vid den h\u00e4r tiden. Det fanns liten eller ingen begr\u00e4nsning f\u00f6r hur m\u00e5nga \u201ddubbla stolar\u201d en person kunde inneha. Tj\u00e4nster och gentj\u00e4nster kollegor och v\u00e4nner emellan kunde ske inom ramen f\u00f6r f\u00f6reningsarbetet. Inget hindrade i praktiken styrelsens ledam\u00f6ter fr\u00e5n att anv\u00e4nda f\u00f6reningsmedel till egna projekt. Det svenska musiklivets \u201dfrihet under ansvar\u201d-devis bidrog till att de med r\u00e4tt kontakter och status enkelt kunde uppn\u00e5 positioner av n\u00e4stan obegr\u00e4nsad makt.<\/p>\n<p>Informella maktstrukturer l\u00e4r knappast vara ett fr\u00e4mmande fenomen i dagens civilsamh\u00e4lle, \u00e4ven om dessa inte alltid fungerar som ovan. Att vara uppm\u00e4rksam p\u00e5 organisationsklimat som gynnar maktmissbruk \u00e4r en utmaning f\u00f6r alla som \u00e4r verksamma i f\u00f6reningar, d\u00e5 som nu.<\/p>","protected":false},"excerpt":{"rendered":"<p>Historikern Johan Lindal har skrivit en masteruppsats om F\u00f6reningen Svenska Tons\u00e4ttare under mellankrigstiden. Den blev ett skolexempel p\u00e5 hur en liten intressef\u00f6rening kunde uppn\u00e5 en m\u00e4ktig position genom att anv\u00e4nda sina resurser p\u00e5 ett effektivt s\u00e4tt. H\u00e4r belyser han b\u00e5de mer och mindre positiva aspekter av deras tidiga verksamhet. Vad h\u00e4nder n\u00e4r konstn\u00e4rer organiserar sig [&hellip;]<\/p>\n","protected":false},"author":68,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","uix_meta_title":"","uix_meta_description":"","uix_canonical_url":"","footnotes":""},"categories":[56],"tags":[327,78,328,329,92,330],"rightplace-folders":[],"class_list":["post-133146","post","type-post","status-publish","format-standard","hentry","category-blogg","tag-foreningshistoria","tag-foreningsutveckling","tag-kulturliv","tag-maktstrukturer","tag-professionalisering","tag-resursutnyttjande"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Musik och makt i civilsamh\u00e4llet &#8226; Trinambai<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/trinambai.se\/en\/musik-och-makt-i-civilsamhallet\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Musik och makt i civilsamh\u00e4llet &#8226; Trinambai\" \/>\n<meta property=\"og:description\" content=\"Historikern Johan Lindal har skrivit en masteruppsats om F\u00f6reningen Svenska Tons\u00e4ttare under mellankrigstiden. Den blev ett skolexempel p\u00e5 hur en liten intressef\u00f6rening kunde uppn\u00e5 en m\u00e4ktig position genom att anv\u00e4nda sina resurser p\u00e5 ett effektivt s\u00e4tt. H\u00e4r belyser han b\u00e5de mer och mindre positiva aspekter av deras tidiga verksamhet. 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