From 'popular‘ to ‚populär‘ and back - the European folk revival from the 1950s to the 1970s from a transnational and transregional perspective

该项目旨在分析 20 世纪 50 年代中期至 70 年代末西欧民间音乐运动的文化转移和纠葛过程。它将重点关注美国民间复兴所刺激的发展以及欧洲间的交流和挪用过程，特别是在地区层面上。与其他流行音乐流派相比，在模仿美国模式一段时间后，民间音乐在国家和地区层面上的这些过程与其他流行音乐流派的情况有所不同。这是欧洲国家和地区对其流行音乐文化采取截然不同的态度的结果，也是社会、文化和媒体历史差异的结果。研究音乐实践、媒体方面、人际关系、空间定位、经济重要性，其中还包括对消费的批判态度所产生的另类经济结构，可以洞察全球历史进程的挪用历史以及欧洲文化合作和以区域不同方式融合的方式。就像所有的复兴一样。回顾过去的民间音乐传统，50年代、60年代和70年代的民间复兴与社会和政治运动有关：从一开始的民权运动和反战运动到70年代的地区主义和生态运动。这不仅意味着这些政治野心如何反映在民间复兴的音乐和社会实践中的问题，而且还导致了“民间场景”的许多分化，这往往是关于“正确的方式”和关于民间音乐在主流流行音乐发展中的定位争论的结果。

The project aims to analyze the processes of cultural transfers and entanglements in the Western European folk music movement between the mid 1950s and the late 1970s. It will focus on the developments stimulated by the US-folkrevival as well as on the inter-european processes of exchange and appropriation, especially on the regional level.More than in other genres of popular music these processes differ in the case of folk music on national and regional level after a period of imitation of the American model. That is the result of a very different approach in the European countries and regions to their own popular musical culture but also of the differences in the social, cultural and media history.Researching the musical practice, the medial aspects, the interpersonal relationships, the spatial localizations, the economic importance, which include also structures of alternative economies resulting from the critical attitude towards consumption, can give insights in the history of the appropriation of a global historical process and in ways of European cultural cooperations and convergences in regional different manners.Like all revivals of folk music traditions in the past the folk revival of the 50s, 60s and 70s was related to social and political movements: from the civil rights movement and the anti-war movement in the beginning to the regionalist and ecological movements of the 70s. That implies not only the question how these political ambitions are reflected in the musical and social practice of the folk revival but leads also to a lot of differentiation in the „folk scene“ which often was the consequence of debates about the „right way“ and about positioning folk music in the development of mainstream pop.