Grenzziehungen – zum Umgang mit tuerkischer Popmusik in Deutschland von den 1960er-Jahren bis heute

»Parallelgesellschaften« in populärer Musik? Abgrenzungen – Annäherungen – Perspektiven, edited by Ralf von Appen, Sarah Chaker, Michael Huber and Sean Prieske

In public discourse, in political-populist debates and in mass media reports, ‘parallel society’ has been a much-used term for years. Its history of political instrumentalisation goes hand in hand with the danger of affirming social inequality. The contributions in this volume examine parallel, seemingly unrelated structures, terms and concepts in the context of popular music. In addition to a look at the German-German history of the development of popular music studies, pop-cultural paradigms of difference are critically analysed from the perspectives of musicology, music sociology, ethnomusicology and law, among others.

Grenzziehungen – zum Umgang mit tuerkischer Popmusik in Deutschland von den 1960er-Jahren bis heute

The treatment of Turkish music and especially Turkish pop music in the Federal Republic of Germany has been marked by various mechanisms of demarcation since the 1960s, i.e. since a strong Turkish presence due to the recruitment agreement. In this article, we would like to explore the questions of where these mechanisms take effect, by whom they are argued and how, but also how they change over time, for the period from the 1960s to the present.
Since musical demarcation is not a purely musical phenomenon, but also has to take into account related social aspects, we will first look at social and cultural demarcation phenomena in German society, especially with regard to migrant communities. Subsequently, a series of core questions will be pursued, which concern Turkish music and its audience, musical functions and the music market, as well as the respective evaluations of Turkish music in Germany. These questions are accompanied by an examination of predominantly music-related aspects of German migration policy.
Answers to our core questions led to a critique of music-related aspects of German migration policy. But it also led to a critique of the institutional treatment of Turkish music in Germany. One of the biggest problems from our point of view, and this is also very clearly shown by the phenomenon of self-exclusion, is the lack of discourse, historiographical transmission and structured access to migrant cultural expressions.
Using mainly a discourse-analytical approach, that primarily draws on statements from politics, science, journalism and musical practice, this article analyses the workings of the exclusionary mechanism throughout the decades.

Book and pdf (open access): https://www.transcript-verlag.de/978-3-8376-7319-7/parallelgesellschaften-in-populaerer-musik/

and online + pdf: http://vibes-theseries.org/grenzziehungen-zum-umgang-mit-turkischer-popmusik-in-deutschland-von-den-1960er-jahren-bis-heute/#more-1070