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Masterarbeit Masterarbeit Titel der Masterarbeit: Zeitgenössische Chinesische Folkmusik Wurzelsuche im Spannungsfeld zwischen Rock- und Volksmusik Verfasser: Lukas Wilhelm Kirschner, Bakk. phil. angestrebter akademischer Grad: Master of Arts (MA) Wien 2010 Studienkennzahl lt. Studienblatt: A 066 811 Studienrichtung lt. Studienblatt: Masterstudium Sinologie Betreuerin: o.Univ.-Prof. Dr. Susanne Weigelin-Schwiedrzik Verschwinden 消失 (Zhang Quan 张佺 1997) Re Mi Re Do So So Do Re Do Re La Re Mi Re Do La So La So Alles wird auf ewig verschwinden 一切都会永远消失 Alle Prinzipien sind unwichtig 一切道理都不重要 Aller Glaube ist falsch 一切信仰都是假的 Alle Existenz wird ewig währen 一切生命都会永远 Alles wird auf ewig verschwinden 一切都会永远消失 Alle Freude verweilt nicht 一切欢乐都不停留 Alle Resultate sind real 一切结果都是真的 Alle Gelübde werden sich ändern 一切誓言都会改变 Eure Seele verschwindet 你们的灵魂消失在 schwindet in euren Begierden 消失在你们的欲望里 Euer heißes Blut verschwindet 你们的热血消失在 schwindet in euren Gedanken 消失在你们的思想里 Eure Freiheit verschwindet 你们的自由消失在 schwindet in euren Räumen 消失在你们的房间里 Eure Liebe verschwindet 你们的爱情消失在 schwindet in euren Schößen 消失在你们的怀抱里 Re Mi Re Do So So Do Re Do Re La Re Mi Re Do La So La So Inhaltsverzeichnis Einleitung .................................................................................................................... 1 1. Teil: Theoretische Konzepte ................................................................................. 4 1.1. Philosophische Betrachtungen ............................................................................. 4 1.1.1. Subjektivität >>> Intersubjektivität <<< Objektivität ......................................... 5 1.1.2. Individuum >>> Wurzelsuche <<< Identität ....................................................... 6 1.1.3. Verifikation und Falsifikation im Rahmen der Wissenschaftstheorie ................. 7 1.2. Terminologische Ausführungen ......................................................................... 10 1.2.1. Klassifizierungskriterien .................................................................................... 10 1.2.2. Folk vs. Pop ....................................................................................................... 14 1.2.3. Rockmusik >>> Folkmusik <<< Volksmusik ................................................... 16 1.3. Methodische Aspekte ........................................................................................... 20 1.3.1. Praktische und Theoretische Sekundärliteratur ................................................. 20 1.3.2. Erhebung und Analyse der Primärquellen ......................................................... 25 1.4. Kulturwissenschaftliche Zugänge ....................................................................... 32 1.4.1. Wurzeln & Suche ............................................................................................... 32 1.4.2. Pop & Kultur ...................................................................................................... 33 1.4.3. Werte & Wandel ................................................................................................ 36 1.4.4. Die Folk-Mythologie ......................................................................................... 39 2. Teil: Historische Grundlagen ............................................................................. 42 2.1. Die Dynastien ....................................................................................................... 42 2.1.1. Lieder und Balladen ........................................................................................... 44 2.2. Die Republik......................................................................................................... 44 2.2.1. Öffnung Chinas durch den Westen .................................................................... 45 2.2.2. Jazz und Pop ...................................................................................................... 46 2.3. Die Volksrepublik ................................................................................................ 47 2.3.1. Die Richtlinien von Yan’an ............................................................................... 47 2.3.2. Sprösslingslieder und Revolutionslieder............................................................ 48 2.3.3. Zehn Jahre Chaos: die Kulturrevolution ............................................................ 49 2.4. Die Reform- und Öffnungspolitik ....................................................................... 51 2.4.1. Campus Folk ...................................................................................................... 51 2.4.2. Popmusik aus Xianggang und Taiwan ............................................................... 53 2.4.3. Nordwestwind und Knastlieder ......................................................................... 54 2.4.4. Rockmusik ......................................................................................................... 56 2.5. Das neue Zeitalter ................................................................................................ 58 2.5.1. 1989 und seine Auswirkung auf die Musik ....................................................... 58 2.5.2. Das Vakuum der Neunziger ............................................................................... 59 2.5.3. Let’s Play: Liumang und Dakou ........................................................................ 61 2.5.4. New Sound-Bewegung und Kommerzialisierung ............................................. 63 2.5.5. Entstehung von Folkmusik ................................................................................ 64 3. Teil: Zeitgenössische Chinesische Folkmusik in Theorie und Praxis ............. 66 3.1. Musik .................................................................................................................... 67 3.1.1. Analysekategorien? ............................................................................................ 67 3.1.2. Tags! .................................................................................................................. 69 3.1.3. Folkmusik durch das Ohr ................................................................................... 71 3.1.4. Folkmusik in Zeit und Raum ............................................................................. 72 3.1.5. Folkmusik hinter der Sprache ............................................................................ 73 3.1.6. Folkmusik des Musikers .................................................................................... 75 3.1.7. Folkmusik und Gefühl ....................................................................................... 76 3.1.8. Re: Tags! ............................................................................................................ 76 3.2. Musiker ................................................................................................................ 79 3.2.1. Pioniere der Folkmusik ...................................................................................... 79 3.2.2. Musikerinnen und Poeten .................................................................................. 82 3.2.3. Musiker der Peripherie ....................................................................................... 85 3.2.4. Zusammenfassende Erkenntnisse ...................................................................... 88 3.3. Gesagt ................................................................................................................... 91 3.3.1. Äußerungen bei Interviews, Gesprächen und Konzerten................................... 91 3.3.2. Ein Bild sagt mehr … ...................................................................................... 109 3.3.3. Zusammenfassende Erkenntnisse .................................................................... 116 3.4. Gesungen............................................................................................................ 118 3.4.1. Nostalgie und Heimat ...................................................................................... 120 3.4.2. Das unstete Wanderleben ................................................................................. 125 3.4.3. Urbanität >>> Individualität >>> Materialismus............................................. 134 3.4.4. Kinder-Eltern Beziehung und Erziehung ......................................................... 142 3.4.5. Liebe und sonstige Schweinereien ................................................................... 147 3.4.6. Natur vs. Kultur ............................................................................................... 151 3.4.7. Gesellschaftskritik und Politik ......................................................................... 157 3.4.8. Mantras und Ver-Nicht-ungen ......................................................................... 170 3.4.9. Zusammenfassende Erkenntnisse .................................................................... 174 3.5. Und dann war da noch … ................................................................................. 179 3.5.1. Web 2.0 und Douban ....................................................................................... 179 3.5.2. Das Urheberrecht und der Diskurs um Wang Luobin ..................................... 181 3.5.3. Ästhetik der Authentizität: (eben nicht) Shanzhai ........................................... 183 4. Teil: Conclusio ...................................................................................................
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