“Not only the quality of an object, but also its effect on the viewer are part of an aesthetic assessment,” says musicologist Susanne Kogler. “Ever since Kant, we have assumed that subjective sensitivities, perceptions and feelings flow into our evaluation of art.” The Song Contest entries are therefore a question of personal taste. However, listeners can assume that others share their judgement. "If we a song, we expect that it meets with general approval and has a chance of winning,’ adds the researcher.
The event of the performance and the competition of opinions are essential components of the ESC, “otherwise experts could make a decision in a quiet chamber,” says Kogler. The fact that the audience has a clear say is essential and justified in her eyes. “The jury's judgement is also subjective, each member weights the individual criteria differently,” explains the musicologist. Her colleague Saskia Jaszoltowski, who has been researching the Song Contest for many years, adds: “Unlike in sports, there are no objective standards in the arts. While the jury may pay more attention to the quality of the composition or the nuances of the singing voice, the listeners are guided more by their own taste. Both are justified.”
Singing from the treetops
Susanne Kogler reckons that the Austrian starter's ability as a countertenor in his song “Wasted Love” could earn him points. “In pop music, the Beach Boys, the Bee Gees and Prince have already used their falsetto voices successfully. It goes down well with audiences because it makes the men seem more vulnerable, but at the same time they show a certain strength when they can still sing powerfully in the higher registers.” With his song, which also contains short operatic passages, JJ links the star cult of soprano singers from the 18th century with a completely different gender debate in the present day. “The blurring of the boundaries between male and female could appeal to many,” surmises Kogler. After all, this aspect has already helped Conchita Wurst to victory.
Social and current political issues have repeatedly come to the fore in the Song Contest in recent years. “Although this development was not actually intended, it can definitely be observed,” says Saskia Jaszoltowski. In any case, the event conveys a political message in a positive sense: “The media spectacle is about much more than the question of who wins. Every year, the competition celebrates peaceful coexistence and the coming together of many people to enjoy music – beyond the categories of nationality, religion and gender. Eurovision is also a kind of utopia that celebrates cultural integration and musical diversity,” emphasises the researcher.