Phoibos Zeitschrift Für Zupfmusik Herausgegeben Von Silvan Wagner

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Phoibos Zeitschrift Für Zupfmusik Herausgegeben Von Silvan Wagner Phoibos Zeitschrift für Zupfmusik Herausgegeben von Silvan Wagner Jg. 2016 Instrumentaldidaktik Jg. 2016 Herausgeber Silvan Wagner Lektorat Christin Edelmann, Max Gross, Christoph Jänisch, Marina Klamt, Florian Remele, Silvan Wagner Umschlaggestaltung Guido Apel Hinweise für Autoren und Autorinnen Einsendungen in deutscher oder englischer Sprache aus dem In- und Ausland sind willkommen. Zusendungen sollten vorzugsweise per E-Mail erfolgen ([email protected]). Die Beiträge müssen unveröffentlicht sein. Weitere Hinweise unter www.phoibos-zfz.de © 2016 Professur für Musikwissenschaft, Universität Bayreuth, 95440 Bayreuth ISSN 2511-1345 (online) Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Inhalt Vorwort ........................................................................................................................ 5 Ein gezähmter Tod. Nachruf auf Karl Stutz .......................................................... 7 In eigener Sache: Die Zukunft von Phoibos ............................................................. 9 Silvan Wagner Fernsehüben – ein autobiographischer Essay zu einem Tabu ...........................11 Gertrud Maria Huber „Treu dem guten alten Brauch!?“ – Gedanken zur Vermittlung traditionell alpenländischer Zithermusik .............................................................. 33 Keith Harris Mandolinenunterricht im Internet: ein vielversprechendes didaktisches Novum ....................................................................................................................... 51 Jannis Wichmann Gitarrenwerke von Komponistinnen des 19. Jahrhunderts im heutigen Unterricht – Überlegungen zum Unterrichtskanon ........................................... 65 Clara Dicke Bedeutung der motorischen Koordination für das Instrumentalspiel am Beispiel der Harfe ..................................................................................................... 77 Mailwechsel Ferien (Wagner/Johnen) ......................................................................................... 89 Christoph Jäggin Aus böser Zeit. Miszellen zu zwei gitarrebegleiteten Schweizer Liedersammlungen ..................................................................................................101 Mirjam Schröder ... wie zwei Schwestern ... Eine Übersicht über das Repertoire für Gitarre und Harfe anhand einer Auswahl an Stücken von 2006-2014 ........................ 119 Hannah Lindmaier Die Gitarre – ein ‚Fraueninstrument‘ des 19. Jahrhunderts? Handlungsspielräume von Gitarristinnen am Beispiel von Catharina Josepha Pratten ..................................................................................... 133 3 Miszelle Eine kleine Blume. Gedanken zur Ästhetik der Mandoline (Karl-Heinz Zarius) .......................................................................................... 155 Autorinnen und Autoren ...................................................................................... 163 4 Vorwort Die Zeitschrift Phoibos untersucht Zupfmusik eingebettet in ihrem musikali- schen, kulturellen und historischen Umfeld. Dabei ist der Name Programm: Phoibos ist der Ehrennahme Apollos, des griechischen Gottes der Heilkunst und Musik, Anführer der Musen. Dessen Instrument, die Kithara, ist einer- seits instrumentengeschichtlich ein Vorläufer der heutigen Instrumente Harfe, Gitarre, Mandoline und Zither und andererseits mythologisches Symbol der musischen Kultur überhaupt. Die Zeitschrift Phoibos versteht sich daran anleh- nend zum einen als musikwissenschaftliches Organ der Instrumente Gitarre, Harfe, Mandoline und Zither, die ihre Gruppenidentität über die gemeinsame Art der Tonerzeugung, ihre Klanglichkeit und ihre über weite Strecken ge- meinsame Vergangenheit erhalten; zum anderen aber will Phoibos auch den kulturellen Vernetzungen der Zupfmusik über den eigenen Tellerrand hinaus nachgehen, was eine breite, kulturwissenschaftliche Perspektive voraussetzt und neben der Theorie auch die praktische Musik einbeziehen muss: Die Zeit- schrift wendet sich an Musikwissenschaftler, praktische Musiker und Musik- lehrer gleichermaßen und soll vor allem für den wissenschaftlichen, künstle- rischen und pädagogischen Nachwuchs ein kritisches Diskussionsforum be- reitstellen, um gerade neuen Ansätzen Gehör zu verleihen. Sie versammelt da- mit Wissenschaftler und Praktiker unter ihren Autoren und Lesern. Der Aufbau der Zeitschrift gliedert sich grundsätzlich in drei Teile: Der erste Teil (eingeleitet durch einen Leitartikel des Herausgebers) verhandelt das im Titel der Ausgabe dominant gesetzte Thema in Einzeldarstellungen, der zweite Teil (eingeleitet durch einen essayistischen Mailwechsel) versammelt thematisch freie Artikel über Interessen der Zupfmusik, der dritte Teil (einge- leitet durch einen Comic) enthält Essays, Besprechungen, Berichte und Vor- stellungen. 5 Ein gezähmter Tod. Nachruf auf Karl Stutz von Silvan Wagner Am 28. September 2015 verstarb unser Verleger Karl Stutz im Passauer Klini- kum nach einem langen Siechtum an Lungenkrebs. Über Wochen hatte ich immer wieder vergeblich versucht, ihn zu kontaktieren, und vor jedem Anruf sammelte ich mich, um die Nachricht seines Todes entgegenzunehmen. Sie erreichte mich schließlich über eine banale Google-Suche, die mit Karl Stutz nur mittelbar etwas zu tun hatte. Dass er sein Leben der Liebe zur Literatur gewidmet habe, klingt in einem Nachruf auf einen Verleger wie ein Gemeinplatz. Ich kann ihn nur aus meiner sehr beschränkten Perspektive heraus mit Substanz füllen: Als blutige Anfän- ger im akademischen Diskurs traten Yvonne Zehner und ich 2007 mit dem Vorschlag an Karl Stutz heran, eine Zeitschrift für Zupfmusik in seinem Ver- lag zu veröffentlichen. Unsere Naivität ließ uns nicht sehen, dass weder die Erscheinungsform eines Periodikums, noch die Mischung akademischer, pädagogischer und musikpraktischer Beiträge dem gewachsenen Verlagsprofil entsprach. Mittlerweile weiß ich, dass entsprechende Anfragen gewöhnlicher- weise kaum einer schriftlichen Ablehnung wert sind. Karl Stutz nahm an und nahm sich unser an. Es klingt in Zeiten von e-publishing, Book-on-demand und arbeitsloser Lektoren unglaubwürdig, aber tatsächlich hat er jede unserer Ausgaben vor der Drucklegung vollständig gelesen. Und uns seine Meinung gesagt. Ich wusste damals noch nicht, wie wertvoll und selten ein solches Engagement ist. Zu Besprechungen trafen wir uns in seiner Lieblingskneipe in Passau – auch dies erscheint mir heute wie eine Beschreibung einer Beziehung zwi- schen Verleger und Autor bzw. Herausgeber aus dem 19. Jahrhundert, und die liebenswürdige Exzentrik, die heitere Diskussionsfreude, die Karl Stutz bei diesen Treffen an den Tag legte, färbt die Erinnerungsbilder tatsächlich ein wenig in Sepia ein. Nach Einführung des Rauchverbots ging es über die Grenze nach Österreich. Denn Herr Stutz liebte die Zigaretten, an deren Gift er letztendlich sterben sollte. Ich weiß, dieser Satz liest sich in einem Nachruf sperrig, moralinsauer, und in der Tat besitzt er einen moralischen Impetus, jedoch, wie ich denke, in umgekehrter Richtung, wie ich anhand unseres letz- ten Telefonats ausführen möchte: 7 Wir plauderten über sein Sterben, über Phoibos, über Geld und über das Verlagswesen, und er machte es mir sehr einfach, nicht das Gefühl zu haben, mit einem Sterbenden, sondern mit einem Lebenden zu sprechen. Nicht nur aufgrund seiner Krankheit, sondern vor allem wegen der zunehmend ange- strengten Lage des Literaturmarktes und seines idealistischen Einsatzes für Literatur war sein Vermögen fast aufgebraucht, und er beteuerte mit sanfter Ironie, dass es für sein Begräbnis noch ausreichen würde. Ein Lebensfazit, das auch bitter schmecken kann: Am Ende rechnet sich die lebenslange Begeiste- rung und der intensive Einsatz für Literatur gegen Null. Karl Stutz aber machte sein Saldo mit ansteckender Befriedigung und in der gelassenen Ge- wissheit, das Richtige getan – vielleicht besser: die richtigen Fehler begangen zu haben. Er liebte den Tabak, er liebte die Literatur, und freilich könnte man sagen, dass er an beidem in gewisser Weise gestorben ist. Richtiger aber ist, dass er mit beidem intensiv gelebt hat, und dies mit großem Genuss. Karl Stutz hatte kein Interesse daran das Leben zu überleben, sondern daran es zu leben. Und seine Einstellung, die er, wie ich weiß, bis zu seinem Tod konse- quent beibehalten hat, hat diesen in gewisser Weise gezähmt, wie man mit Philippe Ariès sagen könnte: Kein Scheitern, sondern der mit offenen Augen erwartete Abschluss eines reichen, anstrengenden, genussvollen und ausge- kosteten Lebens. Mit ebenso gelassener Fröhlichkeit möchte ich ihm gerne meinen Ab- schied nachsenden – doch noch überwiegt die Trauer um den Verlust eines großartigen Menschen. 8 In eigener Sache: Die Zukunft von Phoibos Es stehen Änderungen ins Haus: Die Druckausgabe von Phoibos wurde bislang ausschließlich privat finanziert, was über die Jahre Kosten von 25.000 Euro weit überschritten hat. Als Vater zweier Kin- der und mit – wie es im akademischen Bereich traurige Tradition ist – immer noch ungewisser beruflicher Zukunft kann ich mir diesen finanziellen Aufwand nicht mehr leisten. Ein Projekt wie Phoibos ist allerdings zu wichtig, als dass es einfach aufgegeben werden könnte: Nach wie vor ist die Zupfmusik im weiten Sinne absolut randständig in der Musikwissenschaft und wird
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