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Zwischen Image, Kunst Und Konventionen

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Zwischen Image, Kunst Und Konventionen Der Musikerdiskurs: Zwischen Image, Kunst und Konventionen Eine diskursanalytische Untersuchung des Künstlers am Beispiel von Boards of Canada Lukas Schreder, 01415952 MASTERARBEIT eingereicht an der FAKULTÄT FÜR BILDUNGSWISSENSCHAFTEN LEOPOLD-FRANZENS-UNIVERSITÄT INNSBRUCK zur Erlangung des akademischen Grades Master of Arts MASTERSTUDIUM ERZIEHUNGS- UND BILDUNGSWISSENSCHAFT Betreuungsperson: assoz. Prof. Mag. Dr. phil. Hermann Mitterhofer Institut für Erziehungswissenschaften Fakultät für Bildungswissenschaften Innsbruck, Februar 2021 1.1 Abstract Diese Arbeit verfolgt das Ziel einen Künstlerdiskurs im Bereich der Intelligent Dance Music sichtbar werden zu lassen. Dafür werden folgende Forschungsfragen gestellt: Was zeichnet einen Künstlerdiskurs aus und in welchem Verhältnis stehen Image und Künstlerdiskurs? Um den Künstlerdiskurs an die Oberfläche treten zu lassen, werden Zeitungsartikel zwischen 1997 und 2005, die das schottische Duo Boards of Canada abdruckten, untersucht. Die Berichterstattung über diese Band statuiert ein Exempel, das zeigt, wie der Künstlerdiskurs in Erscheinung treten kann. Die theoretische Rahmung bilden Michel Foucault, Rainer Diaz-Bone und Silke Borgstedt. Für diese Arbeit wird die Methode der Diskursanalyse nach Jäger hinzugezogen, die sich an Äußerungen der Band sowie Aussagen über das Duo orientiert. Der Interpretationsteil zeigt, dass in den untersuchten Special-Interest-Zeitschriften ein Künstlerdiskurs in Erscheinung tritt. Abschließend werden Kriterien eines Künstlerdiskurs aufgelistet, wodurch die Komplexität zu anderen Diskurssträngen sichtbar wird. Künstlerdiskurs und Image bedingen sich gegenseitig und stehen damit in Zusammenhang. This Master thesis aims to discover an artist-discourse in Intelligent Dance Music. Therefore following questions will be answered: What does an artist-discourse involve and how does it connect to the image-discourse? To show the existence of an artist-discourse, special-interest- newspapers between 1997 and 2005, which portray the scottish Duo Boards of Canada, are examined. The band’s media coverage shows an example of how this discourse can become visible. Michel Foucault, Silke Borgstedt and Rainer Diaz-Bone set the theoretical background and Jäger’s discourse-analysis, which focuses on the band’s statements, is used as a method. Results show, that the artist-discourse as well as the artist-dispositive can be found in the examined newspaper-articles. In the last chapter criteria of an artist-discourse are listed, where the complexity and the interconnectedness can be seen. This certain discourse as well as the image are mutually dependent and therefore connected. 2 Inhaltsverzeichnis 1.1 ABSTRACT ............................................................................................................................................... 2 2 EINLEITUNG ........................................................................................................................................... 6 3 DER DISKURS ......................................................................................................................................... 8 4 MICHEL FOUCAULT ................................................................................................................................ 9 4.1 DIE ORDNUNG DES DISKURSES .................................................................................................................... 9 4.2 DIE WAHRHEITEN IM DISKURS ................................................................................................................... 11 4.3 DER DISKURS UND DESSEN MACHT ............................................................................................................ 11 4.4 DIE EPISTEME ........................................................................................................................................ 12 5 DER KUNSTDISKURS ............................................................................................................................ 12 6 DAS DISPOSITIV ................................................................................................................................... 14 6.1 DIE SOZIALE KLASSE ................................................................................................................................. 16 7 KUNSTWELTEN .................................................................................................................................... 17 7.1 KONVENTIONEN ..................................................................................................................................... 17 7.2 DAS PUBLIKUM ...................................................................................................................................... 18 7.3 STANDARDISIERUNGEN IN DER KUNST ......................................................................................................... 19 7.4 DIE HELFER IN DEN KUNSTWELTEN ............................................................................................................. 20 8 DIE GESCHLECHTERDEBATTE IN DER KUNST ......................................................................................... 22 9 GENREKONSTRUKTION ........................................................................................................................ 24 10 DIE AUTONOMIE ................................................................................................................................. 26 10.1 DAS AUTONOME KUNSTWERK ................................................................................................................... 26 10.2 AUTONOMIE ALS SOZIALES POSTULAT ......................................................................................................... 27 10.3 AUTONOMIE ALS ÄSTHETISCHES POSTULAT .................................................................................................. 27 10.4 AUTONOMIE ALS MEDIENONTOLOGISCHES APRIORI ....................................................................................... 27 11 ÄSTHETISCHE URTEILE ......................................................................................................................... 28 11.1 WAS IST KUNST? .................................................................................................................................... 31 11.2 WAS IST GELUNGENE KUNST/MUSIK? ........................................................................................................ 31 12 HISTORISCHE SKIZZE DER PROMINENZ ................................................................................................ 34 13 DER STAR UND DAS IMAGE ................................................................................................................. 36 13.1 GESCHICHTLICHER UMRISS DER MUSIKER_INNEN .......................................................................................... 36 13.2 DAS VERHÄLTNIS VON STAR UND IMAGE ..................................................................................................... 36 13.3 DAS VERHÄLTNIS ZUM PUBLIKUM .............................................................................................................. 38 13.4 HOCHKULTUR VS. POPKULTUR ................................................................................................................... 38 3 13.5 EIGENSCHAFTEN DES STARTUMS ................................................................................................................ 39 1. Leistung und Erfolg ............................................................................................................................ 40 2. Bekanntheit ........................................................................................................................................ 40 3. Feste Anhängerschaft ........................................................................................................................ 41 4. Image ................................................................................................................................................. 41 13.6 DEFINITION DES IMAGE ............................................................................................................................ 42 14 BOARDS OF CANADA ........................................................................................................................... 47 14.1 DER CLOU VON TOMORROW’S HARVEST ..................................................................................................... 48 14.2 IDM .................................................................................................................................................... 49 14.3 DIE MUSIKINDUSTRIE .............................................................................................................................. 50 15 METHODE ........................................................................................................................................... 51 15.1 WICHTIGE BEGRIFFE ................................................................................................................................ 53 15.1.1 Der gesamtgesellschaftliche Diskurs in seiner Komplexität ..................................................... 54 15.1.2 Geschichte, Gegenwart und Zukunft der Diskursstränge ......................................................... 54 15.1.3 Das Sysykoll .............................................................................................................................
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