"Music field Europe" - Entangled franco-german history of popular music within transatlantic and inner-european dynamics of exchange during the long 1960s

“欧洲音乐领域”旨在填补法德流行音乐史上的空白，以欧洲内部和大西洋两岸在20世纪60年代的动态交流为背景。它特别注意跨国流派对社会文化、政治和文化变革的潜在影响及其对若干欧洲国家自由化、多元化和民主化进程的相关性。此外，战后早期几十年流行文化美国化的常见叙事，特别是在漫长的20世纪60年代流行音乐的美国化，可以更公开地以更不同的形式讲述欧洲化或跨大西洋一体化的叙事。它还将展示流行音乐产品如何跨越国界，参与当时日益增长的国际音乐市场。着眼于法国，联邦共和国和德意志民主共和国，法德边境地区，并考虑到卢森堡和比利时（作为邻近文化影响交汇处的国家），该项目通过历史比较，转移和相互依存的方式提出了法德流行音乐流派的双重历史。“欧洲音乐领域”的出发点是假设演奏者、现象和实践都受制于持续的动态和复杂的循环：一个典型的例子是各种风格的音乐，如摇滚、节拍和流行音乐（很难用任何程度的精确划分），还有香颂、抗议歌曲或“施拉格”——20世纪60年代的旋律。这项研究的重点将是记者（新闻、贸易期刊、广播、电视）、制作人、唱片出版商、艺术家、翻译/作家、SACEM及其德国同行、GEMA、私营和公共广播公司以及两国政府之间的联系和交流，以揭示法德音乐市场在漫长的20世纪60年代的起源、发展和机制。

"Music field Europe" aims at filling the white spot of a Franco-German history of popular music against the backdrop of inner-European as well as transatlantic dynamics of exchange during the long 1960s. It pays particular attention to the potential repercussions of transnational genres on sociocultural, political and cultural change and their relevance for processes of liberalisation, pluralisation and democratisation in several European countries. In addition, common narratives of the Americanisation of popular culture in the early post-war decades, especially the Americanisation of popular music in the long 1960s, can be told more openly and in a more differentiated form as narratives of Europeanisation or transatlantic integration. It will also be shown how popular music products crossed national borders to participate in the growing international music market of the time. With a view to France, the Federal Republic and the GDR, the Franco-German border region, and with consideration of Luxembourg and Belgium (as countries at the intersection of neighbouring cultural influences) this project proposes a twofold Franco-German history of popular musical genres by means of historical comparison, transfer and interdependence. “Music field Europe" starts from the assumption that players, phenomena and practices are subject to continuous dynamics and complex circulation: a prime example for this are various styles of music such as rock, beat and pop (which are difficult to delimit with any degree of precision), but also chanson, protest songs or "Schlager"-melodies of the long 1960s. The focus of this study will be the links and exchanges between journalists (press, trade journals, radio, television), producers, record publishers, artists, translators/writers, SACEM and its German counterpart, GEMA, private and public broadcasters and the governments of both countries study in order to bring to light the origins, development and mechanisms of the Franco-German music market during the long 1960s.