'Time has come today' Special time patterns of pop-musical chronotopes and their impact on the temporal differentiation of life worlds since the 1960s

音乐的一个本质特征就是它的时间结构。通过音乐，时间感知以多种方式被操纵和塑造。在20世纪，流行音乐在日常生活中无处不在。流行音乐的审美创新依赖于公众对新音乐表达的接受，这种表达既在社会上无处不在，同时又高度差异化。流行音乐的呈现、感知和实践依赖于审美和社会时间模式之间的情景关系。更重要的是，不断变化的公众偏好使新的音乐形式成为可能，并引导新的音乐形式，作为新的有时间限制的形式，它们被纳入日常生活并发挥社会导向功能。特别是在社会和文化变革的各个阶段，这一点变得明显。因此，这一项目的历史焦点是西德的1960年代至1980年代。根据一种普遍的观点，这些年的文化变化伴随着流行音乐，并以其为象征。根据SPP节目的说法，这里介绍的重要假设是，流行音乐作为一种审美实践，不仅象征着甚至塑造着社会和文化的变化。通过这一点，该项目有助于按照最高人民大会党的方案的建议，为修订既定的现代性概念奠定物质基础。该项目设在C节“计时器”，因为它根据具体现象，包括自我参照的时间水平，以及与传记、时间使用模式、社会变化、特定群体时间和当地时间等社会时间模式的联系，审查感知、技术、材料和音乐形式。在这方面，该项目旨在从理论上反映在流行音乐背景下创造的审美和社会时间结构。为此目的，将开发一个精心设计的流行音乐计时器的概念，遵循并加强巴赫廷的概念。它表明了流行音乐文化的一个焦点，即由音乐经验构成的时空安排。两个流行音乐计时器的例子将被特别研究：“进步的乡村迪斯科”(1965-1980)和“消极的废墟”(1975-1988)。流行音乐体验的概念在理论层面上描述了一种心理和情景参与，这既是审美时间模式的一部分，也是日常过程的一部分。因此，这种体验调节了社会和审美的时间模式。这些流行音乐计时器的参与者将接受采访，了解他们对音乐和社会形式之间的一致性的印象。历史资料也将被分析。在这两种类型的分析中，审美呈现的相应的、不同的和相互作用的方面将被评估为社会时间模式。

An essential trait of music is its temporal structure. Through music, time perception is manipulated and shaped in manifold ways. In the 20th century, popular music became ever-present in everyday life. Aesthetic innovation in popular music depends on the acceptance of new musical expression by a public that is both socially ubiquitous and at the same time highly differentiated. Presentation, perception, and praxis in popular music come to rest on situational relationships between aesthetic and social time patterns. What is more, changing public preferences enable and channel new musical forms, as new time-bound forms they are incorporated into everyday life and perform social orientation functions. Particulariy in phases of social and cultural change this becomes manifest. The historic focus of this project therefore lies in the 1960s to the 1980s in West-Germany. The cultural changes of these years were, according to a widespread opinion, accompanied and symbolized by popular music. Taking up a claim from the program of the SPP, the important assumption introduced here is that popular music, as an aesthetic praxis, not only symbolizes, but even shapes social and cultural change. With this, the project contributes to the material foundation of the revision of established concepts of modernity, as suggested by the program of the SPP. The project is situated in section C „Chronotopes", because it examines perceptional, technical, material and musical forms on the basis of concrete phenomena, including self-referential levels of time, and a linkage with social time patterns, such as biographies, patterns of time usage, social change, group-specific and local time. In this respect, the project aims at a theoretical reflection of the aesthetic and social time structures created in the context of popular music. For this purpose, an elaborate concept of pop-musical chronotopes will be developed, following and enhancing Bachtin's concept. It indicates a focal point of the culture of popular music, that is to say spatiotemporal arrangements that are constituted by musical experience. Two examples of pop-musical chronotopes are to be examined in particular: The „progressive rural disco" (1965- 1980) and the „ruins of negativity" (1975-1988). The concept of pop-musical experience describes, on a theoretical level, a kind of psychic and situational involvement which is part of both aesthetic time patterns, and everyday processes. This experience therefore mediates social and aesthetic time patterns. Participants in these pop-musical chronotopes will be interviewed regarding their impressions about the consistency between musical and social forms. Historical sources will also be analyzed. In both types of analysis the corresponding, diverging and interacting aspects of aesthetic presentation will be evaluated for social time patterns.