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Masterarbeit/ Master’S Thesis MASTERARBEIT/ MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Imagining Paris through Jazz: Über die Bedeutung von Musik für die Wahrnehmung von Stadt“ verfasst von / submitted by Melisa Üregen angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2017 / Vienna, 2017 Studienkennzahl lt. Studienblatt / degree A 066 836 programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / degree Masterstudium Musikwissenschaft programme as it appears on the student record sheet: Betreut von / Supervisor: Dr. Oliver Seibt Danksagung Inmitten von Überlegungen stehend, welchem Thema ich mich in meiner Masterarbeit widmen wolle, stolperte ich zufällig in ein Gespräch mit meinem späteren Betreuer Oliver Seibt über Jazz und Paris. Er erzählte von einem Forschungsausflug nach Paris, bei dem er mit Studierenden aus Frankfurt den historischen Spuren des Jazz in Paris gefolgt sei. Sympathisiert teilte ich ihm meinen Wunsch mit, eine Forschungsarbeit zu schreiben, die Paris und Jazz verbinden könne. So brachte er mich auf das Imaginäre, das urban imaginary von Paris in Verbindung mit Jazz: Kein geeigneteres Thema hätte ich mir als Abschluss meines Masterstudiums vorstellen können, deshalb danke ich zuallererst Oliver Seibt für seine Inspiration und die Unterstützung. Diese Arbeit zu schreiben war kein leichtes Unterfangen – ohne meinen Freund Fips Funk hätte ich die nötige Kraft nicht aufgebracht. Auch nicht ohne die Wahnsinns-Unterstützung meiner KommilitonInnen fürs Leben, den „fleißigen Bienchen“ Eva-Maria Bauer, Stefana Mihaicuta, Stephan Steiner, Martina Mühlbauer, Felix Biller, Sarah Blum und Carmen Rosenkranz. Und wo wäre ich erst ohne die unersetzbare Liebe und Unterstützung meiner Familie und Freunde? Belma Balci, Murat Üregen, Berfin Üregen, Irem Balci, Ferhat Arslan, Konuray Mutluer und Jasmin, ich danke euch von ganzen Herzen. Auf ein neues Kapitel. Wien, Juni 2017 Inhaltsverzeichnis 1. Einleitung ………………..…………………………………………………….……... 8 1.1. Der Forschungsstand …………………………………………………………. 9 1.2. Die Forschungsmethodik……………………………………...………........... 11 1.2.1. Sammeln von Primärquellen……………………………………… 11 1.2.2. Interviews – Aufbau, Ablauf, Analyse ………………………....... 12 1.2.3. Zur Methode der Authoethnographie ……………………………. 16 1.3. Aufbau der Arbeit ………………………………………………………...…. 17 2. Imaging the imaginary………………………………………………………………. 18 2.1. Urban imaginary…………………………………………...…………..……. 21 2.2. Roland Barthes‘ semiologisches Modell des Mythos ………………………. 23 2.3. Musik im Urban imaginary ...……………………………………………….. 27 2.3.1. Musiktourismus ……………………………………………..….... 29 2.3.1.1. Virtuelle Reisen ……………………………………...……. 32 3. Geschichte und Mythos des Jazz in Paris …………………………………………... 34 3.1. Der Anfang: 1. Weltkrieg, James R. Europe und Eugene Bullard ………..… 36 3.2. Hintergründe: Warum Paris? ...………………………………………........… 38 3.3. Josephine Baker, Briktop und Cole Porter ………………………………….. 43 3.4. Sidney Bechet “fait le boeuf” ……………………………………………….. 47 3.5. Hot Club de France und die 1930er ………………...…………………......... 51 3.6. Jazz manouche und Django Reinhardt …………………..,……………......... 54 3.7. Der Zweite Weltkrieg ………………………………………………….......... 58 3.8. Saint-German-des-Prés: Die 1950er und 60er ……………………………… 61 3.9. Jazz-Paris: 1970er bis Heute ………………………………………………... 64 3.9.1. Jazzclubs ……………………………………………………........ 66 3.9.2. Jazz-Paris-Tours …………………………………………………. 74 3.9.3. Festivals ………………..………………………………..……….. 74 3.9.4. Jazzhochschulen in Paris…………………………………………..75 4. Kollektives Jazz-Paris-imaginary …………………………………………………... 77 4.1. Paris – Stadt der Liebe, Stadt der Kunst …………………………………….. 78 4.1.1. Ikonographie ……………………………………………………... 81 4.1.2. KüstlerInnen in Paris …………………………………………..… 83 4.1.3. Filme – An American in Paris und Amélie …………………….… 84 4.1.4. Chanson française ……………………………………………….. 86 4.2. Jazz & Paris – A love affair………………………………………………….. 88 4.2.1. Der Jazz-Mythos in Paris-Filmen ...…………………………….... 92 4.2.1.1. Film Noir …………………………………...……………... 93 4.2.1.2. Jazz-Paris-Filme: Round Midnight in Paris ...…………….. 97 4.2.2. Beispiele von Jazz-Paris-Stücken ………………………………..101 4.2.3. Paris als Albumthematik ………………………………………... 105 5. Individuelle Jazz-Paris-imaginaries: Interview-Portraits ......................................... 111 5.1. Mina ………………………………………………………………………... 111 5.2. Charles & Angela …………………………………………………….….… 114 5.3. Rachel …………………………………………………………...……….… 118 5.4. Philippe …………………………………………………………………..… 120 5.5. Jeff ……………………………………………………………………......... 123 5.6. Ken ……………………………………………………………………........ 127 5.7. Swarna & Niranjan ……………………………………………………….... 130 5.8. Brad ………………………………………………………………………... 134 6. Mein Jazz-Paris : Eine authoethnographische Kurzgeschichte …………….……… 138 7. Conclusio…………………………………………………………………..................140 Abstract ……………………………………………………………………................... 143 Quellenverzeichnis ……………………………………………………………………..….. 144 Sekundärliteratur…………………………………………………………………..…….144 Interviews…………………………………………………………………………….…148 Audioquellen……………………………………………………………………….....…149 Audiovisuelle Quellen……………………………………………………………….…..151 Online-Quellen……………………………………………………………………….….153 Abbildungsverzeichnis Abbildung 1: Liebespaar vor Eiffelturm, aus: https://8tracks.com/dukewilbury/jazz-for-an-afternoon- in-paris, letzer Zugriff: 8.5.2017 ………………………………………………………………………25 Abbildung 2: Barthes' semiologisches Modell des Mythos, aus: Seibt, Oliver: Der Sinn des Augenblicks. Überlegungen zu einer Musikwissenschaft des Alltäglichen, Bielefeld: Transcript 2010, S.138 ……………………………………………………………………….…………………….….26 Abbildung 3: James 'Reese' Europe dirigiert die Hellfighters, Paris 1918, aus: Jost, Ekkehard: Jazzgeschichten aus Europa, Hofheim: Wolke 2012, S.30 ………………………………… 37 Abbildung 4: Josephine Baker mit Bananenrock, Plakat von Paul Colin, aus: Osato, Kelly S.: „Queen Josephine Baker and her banana skirt“, in: Online-Blog Amoeba, Blogeintrag von 28.2.2015, https://www.amoeba.com/blog/2015/02/grow-sound-tree/queen-josephine-baker-and-her-banana- skirt.html, letzter Zugriff: 10.5.2017…………………………………………………………….…… 43 Abbildung 5: At Bricktop's, aus: Pick, Margaret Moos: „A Night at Bricktop’s: Jazz in 1930s' Montmartre”(2012), in: The Jim Cullum Riverwalk Jazz collection, http://riverwalkjazz.stanford.edu/program/night-bricktops-jazz-1930s-montmartre, letzter Zugriff: 9.5.2017 ……………………………………………………………………………………………… 46 Abbildung 6: Sidney Bechet im Tintin 1959, aus: https://www.delcampe.net/fr/collections/livres-bd- revues/tintin/le-journal-de-jeunes-tintin-annee-1959-n-580-jazz-sidney-bechet-91122796.html, letzter Zugriff: 10.5.2017 ……………………………………………………………………………….....… 49 Abbildung 7: Rex Stewart, Django Reinhardt, Duke Ellington, Louis Vola, Baro Ferret (versteckt), Joseph Reinhardt, Max Geldray (Mundharmonika), aus: Jost, Ekkehard: Jazzgeschichten aus Europa, Hofheim: Wolke 2012, S.55………………………………......56 Abbildung 8: Charlie Parker (vorne) und Sidney Bechet (hinten) unterwegs zum Jazzfestival Paris 1949, aus: https://www.pbslearningmedia.org/resource/parker-bechet-image-1511/charlie-parker-and- sidney-bechet-ken-burns-jazz/#.WNpfh_5aHVg, letzter Zugriff: 10.5.2017……………………………………………………………………………………...….…... 62 Abbildung 9: Miles Davin und Juliette Greco, mit Boris Vian im Hintergrund, aus: Griffoulières, Camille: „Le jazz à Paris, d’hier à aujourd’hui“, in: Time Out online, https://www.timeout.fr/paris/concerts-/jazz-paris-histoire, veröffentlicht am 7.4.2015, letzter Zugriff: 10.5.2017………………………………………………………………….………………...……...… 64 Abbildung 10: Widmung von Eddie Henderson an Sunside, aus: Offizielle Webiste von Sunset/Sunside, http://www.sunset-sunside.com/club/dedicaces, letzter Zugriff: 10.5.2017…........................................................................................................................................... 66 Abbildung 11: Eingang von Duc des Lombards, aus: http://www.yourparis.fr/jazz-clubs-paris-best- places-live-music/, veröffentlicht am 30.4.2014, letzter Zugriff: 10.5.2017 ……………………….... 69 Abbildung 12: Jazzaufführung im Autour de Midi..et Minuit, aus: Offizielle Webiste von Autour de Midi..et Minuit, https://autourdemidi.fr/index.php?option=com_content&view=article&id=5&Itemid=4&lang=en, letzter Zugriff: 10.5.2017…………………………………………………………………………………..… 70 Abbildung 13: Chope des Puces in Saint Ouen, aus: Gemma Ware: „Best Gypsy Jazz bars in Paris“, in: The Guardian, veröffentlicht am 3.3.2010, https://www.theguardian.com/travel/2010/mar/03/jazz- bars-paris-django-reinhardt, letzter Zugriff 9.5.2010………………………………………………………………………………………..…...… 71 Abbildung 14: Leuchttafel von Caveau de la Huchette, aus: http://www.parisinfo.com/musee- monument-paris/72780/Caveau-de-la-Huchette, letzter Zugriff: 10.5.2017………………..……...… 73 Abbildung 15: Moulin Rouge-Plakat von Toulouse-Lautrec, aus: http://www.malerei- meisterwerke.de/bilder/henri-de-toulouse-lautrec-moulin-rouge-la-goulue-plakat-09709.html, letzter Zugriff: 10.5.2017………………………………………………………………………………....….. 82 Abbildung 16: Paris-Symbole, aus: https://www.pinterest.com/pin/348184614918733533/, letzter Zugriff: 10.5.2017……………………………………………………………………………..……… 82 Abbildung 17: Vinyl-Plattencover zum Soundtrack zu Ascenseur pour l'échafaud mit Jeanne Moreau und Miles Davis, aus: https://www.discogs.com/Miles-Davis-Lift-To-The-Scaffold-Original- Soundtrack-aka-Ascenseur-Pour-LEchafaud/release/5275719, letzter Zugriff: 10.5.2017……………………………………………………………………………………..……..... 96 Abbildung 18: Yves Saint Laurent
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