Masterarbeit / Master's Thesis

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Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Sag mir, warum hängt die Gitarre so weit oben?“ Eine musik- und techniksoziologische Untersuchung des Gitarrengurtes verfasst von / submitted by Mag. Ludger Roman Duffner Bakk. angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts Wien, 2016 / Vienna, 2016 Studienkennzahl lt. Studienblatt / A 066 905 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / MA Soziologie degree programme as it appears on the student record sheet: Betreut von / Supervisor: Dr. Alfred Smudits Anmerkung zum gewählten Titel: Die Zeile „Sag mir, warum hängt die Gitarre so weit oben?“ entstammt dem Lied Gitarre runter von Bela B. das 2007 auf seinem Soloalbum Bingo (Label: BPX1992) veröffentlicht wurde. Danksagung – oder das Öffnen einer Black Box Eine Masterarbeit ist wie eine Black Box, in der das zu Grunde liegende Netzwerk aus unterschiedlichsten miteinander verbundenen und kooperierenden Akteuren und Wissensvorräten verborgen bleibt. Mit der Danksagung wird die Black Box einen Spalt breit geöffnet, sodass ein kleiner Ausschnitt der mobilisierten und gebündelten Kräfte sichtbar gemacht wird. Ein wichtiger Akteur für diese Arbeit war das Internet. Danke, dass du meine Arbeit gespeichert hast; mir Zugang zu Quellen aus aller Welt und den verschiedensten Epochen verschafft hast. Auch den unterschied- lichsten Bilddatenbanken und Mediatheken sowie der Bildersuchfunktion von Google bin ich zu Dank verpflichtet, denn ohne sie wäre das reichhaltige Analysematerial niemals zusammengekommen. Obwohl ich viel über Gebrauchsformen, Erfahrungen und Probleme im Umgang mit dem Gitarren- gurt online, in Patenten oder Büchern herausgefunden habe, konnten erst die Gespräche mit meinen Interviewpartnern Christian, Michi und Simon viele noch offene Fragen beantworten. Danke euch! Auch den technischen Hilfsmitteln sei Danke gesagt. Könnte Firefox nicht hunderte von Tabs in drei Fenstern gleichzeitig stabil offen halten, wären Stunden der Recherche umsonst gewesen. Auch ohne all die Computer, die widerstandslos meine Tasteneingaben schluckten, wäre diese Arbeit nicht zustandege- kommen. Die Schönheit der Arbeit beruht auf dem Service meines Bruders Georg, der mich nicht nur mit Schrift, Satz und Format versorgt, sondern auch eine soziologiegerechte Bibliografieformatierung für Latex gebastelt hat. Merci! Den fürsorglichen und fördernden Institutionen, angefangen von meinen Eltern (ihnen gilt mein beson- derer Dank) über Schule und Universitäten bis hin zum Sozialstaat bin ich zum Dank verpflichtet. Viele geistige und körperliche Voraussetzungen konnten erst durch ihre Unterstützung aufgebaut werden. Dass ich die Arbeit überhaupt in Angriff nehmen konnte, liegt an der Offenheit von Prof. Smudits dieses ungewöhnliche Thema zu betreuen. Vielen Dank! Auch meiner Schreibpartnerin Alice möchte ich danken. All die fachlichen, aber auch ablenkenden Ge- spräche in den Kaffeepausen und ihre Korrektur tragen diese Arbeit. Zum wiederholten Mal hat ein nächtlicher Besuch mit Berni beim Würstelstand großen Einfluss auf eine Abschlussarbeit. Den Bela B. krieg ich nicht mehr aus den Ohren! Danke dem Universitäts-Computerraum und all seinen Insassen. Die Ruhe, die stickigen Räume, der tägliche Kampf ums Öffnen der Fenster und viele andere kleinen Ereignisse sorgten für das richtige Arbeitsambiente. Schließlich gilt der fetteste Danke meinem Sind! Ohne ihr Hobeln, Reparieren, Kritisieren, Korrigieren, wiederholtes Korrigieren, Therapieren, Ablenken, Urlaub machen und und und wäre ich wohl nie fertig geworden. Und ja, danke Rubio! 3 Inhaltsverzeichnis Einleitung 9 1 Theoretischer Rahmen 14 1.1 Musiksoziologie ..................................... 14 1.2 Techniksoziologie .................................... 19 1.3 Theorie der Praktiken .................................. 27 1.4 Fazit ........................................... 31 2 Methodisches Vorgehen 32 3 Der Gitarrengurt 38 3.1 Eine techniksoziologische Betrachtung ......................... 38 3.1.1 Teil eines riesigen Hybridwesens ........................ 39 3.1.2 Tragekonstruktionen bei anderen Instrumenten ................ 40 3.1.3 Der Gitarrengurt als Träger ........................... 41 3.1.4 Der Gurt als Auslöser für Kommunikation ................... 44 3.1.5 Das Pin-Loch Problem: Ein instabiles Netzwerk ................ 45 3.2 Technikgenese: Das Aufkommen des Gitarrengurtes .................. 52 3.2.1 Sichtung des Artefaktes ............................. 53 3.2.2 Einflussfaktor: Musikpraxis ........................... 58 3.2.3 Die Herausbildung des Tragesystems ...................... 60 3.2.4 Genese des modernen Gurtes .......................... 63 3.3 Form und Material des Trägers ............................. 67 3.3.1 Der Schultergurt ................................ 68 3.3.2 Die Gitarrenschlinge für klassische Gitarren .................. 73 3.3.3 Material ..................................... 74 3.4 Gurt und Performance ................................. 77 3.4.1 Gebrauch des Trägers .............................. 78 3.4.1.1 Formen des Umhängens ....................... 78 3.4.1.2 Trageposition ............................ 81 3.4.2 Gestaltung ................................... 90 3.4.3 Zentralmotiv: Bewegung ............................ 97 3.5 Initiator für neue Handlungen ............................. 103 3.6 Alternative zum Gitarrengurt .............................. 104 5 Schluss 107 Literatur und Quellen 111 Literaturverzeichnis ...................................... 111 Bildquellen .......................................... 116 Diverse Primärquellen ..................................... 118 Anhang 121 Abstract ............................................ 121 6 Abbildungsverzeichnis 1 DIY-Lösung Bierflaschenverschluss (Irons 2013) ..................... 49 2 DIY-Lösung: Gurtüberklebung bei The Clash (Jordan 1978) .............. 49 3 DIY-Lösung: Hornüberklebung bei Guy Picciotto (Fugazi) (Skittles266 2008) ..... 49 4 Erster patentierter Strap Lock (Silverman und Collins 1979) ............... 49 5 Erste Darstellung des Gurtes auf einer Druckgrafik von Massijs (Massijs nach 1538) ... 53 6 Lautenband auf Gemälde von Spada (Spada 1615) ................... 55 7 Knopfschlinge. Ausschnitt: Linard-Gemälde (Linard 1627) ............... 56 8 Spielposition im 15. Jahrhundert. Ausschnitt: Rothschild Micellany; Folio 246 (Unbe- kannt 15. Jahrhundert) .................................. 58 9 Halskrause auf Jordaens-Gemälde (Jordaens 1621) .................... 62 10 Theorbe mit Lautenband (Lana 1630) .......................... 62 11 Ausschnitt aus Sottiles „Guitar Strap“-Patent (Sottile 1953) ............... 64 12 Werbeseite für Bobby-Lee-Gurte (Bobby Lee 1950er) .................. 64 13 DIY-Hüftgurt von Steve Albini (Jarpa 2008) ...................... 71 14 Schulter-Hüftgurt bei Jack Whites Auftritt am Fuji Rock Festival 2012 (Summers 2012) . 71 15 Markante Gitarrenschlinge bei Willie Nelson (Philpot 2009) .............. 73 16 Umhängevariante von Rev Gary Davis (David 1964) .................. 79 17 Umhängevariante bei Slideguitar: Jerry Douglas (Frommer 2009) ............ 79 18 Umhängevariante im Blues: Albert Collins (Sumori 1990) ................ 79 19 Umhängevarinate im Bluegrass: Bill Monroe (NaSHOF 1970er) ............ 79 20 Hoch umgehängte Gitarre: Jaco Pastorius (Jean-Luc 1977) ............... 82 21 Hoch umgehängte Gitarre: Steve Howe (Yes); (Dikeman 1977) ............. 82 22 Hoch umgehängte Gitarre: Gerry & The Peacemaker (Shout! Factory 1964) ...... 84 23 Hoch umgehängte Gitarre: David Byrne (Talking Heads); (Markos 1978) ........ 84 24 Tief hängende Gitarre: Small Faces mit Schnurverlängerung (Radio Bremen TV 1967) . 89 25 Tief hängende Gitarre: Ramones (Plismo 1976) ..................... 89 26 Taylor Swift (Zills 2013) ................................. 90 27 Hootenanny-Strap von Jimie Hendrix (Howzit 2014) .................. 93 28 Werbeseite: Roland SH101 (YAMA 2014) ........................ 99 29 Werbeseite: Moog Liberation (Moog Music Inc. 2016) ................. 99 30 Duckwalk: Chuck Berry (ChuckBerry.com 1950er) ................... 101 31 Guitar Flip; Still aus einem YouTube-Video (malk 2009) ................ 102 7 Einleitung „Sag mir, warum hängt die Gitarre so weit oben? Häng sie doch um, als hättest du sie grad aufgehoben Das sieht sonst dumm aus und alles andere alsschön Mach die Gitarre runter wir wollen deinen Sack nicht sehn“ Bela B. 2006 Bela B., Schlagzeuger der deutschen Pop-Punk-Band Die Ärzte, nimmt im 2006 veröffentlichten Lied „Gitarre runter“ Anstoß an GitarristInnen, die ihre Gitarren hoch tragen. Es sehe „leider scheiße aus“ wenn „kleine[n] feuchte[n] Griffbrettgucker[n]“ das Griffbrett „gleich unter dem Kinn“ hänge. Interessant an dem provokant-machistischen Text ist der Blick auf ein kleines, aber offenbar nicht unwesentliches Detail in der musikalischen Inszenierung: die Trageposition der Gitarre. Ihre Bedeutung scheint groß genug zu sein, dass Bela B. ihr das ganze Lied gewidmet hat. Wie aus dem Liedtext hervorgeht, führen Musike- rInnen mitunter geradezu ideologische Kontroversen um die richtige Positionierung der Gitarre. Dieser Streitpunkt verweist auf eine symbolische Ebene, auf die kulturelle Kodierung der Gitarrentrageposition1. Die Annahme, dass ein solch unauffälliges Handlungselement Teil eines weitläufigen Netzes sozialer Implikationen sein könnte, war für mich ausschlaggebend dafür, diese Arbeit zu schreiben.
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