"From dance band to cover band" The ball as popular rural site of amusement and musical socialisation

子项目“从舞蹈乐队到翻唱乐队”旨在对农村地区作为“中间空间”的研究做出实证贡献，并展示边境地区作为政治、文化和经济谈判过程空间的特殊动态。该研究项目的微观历史方法（即对萨尔-洛-勒克斯地区和欧洲地区选定村庄的当地音乐实践历史进行具体研究）将使人们能够从日常历史的角度探索音乐家和当地观众的生活世界背景。该研究项目对当地历史的关注，使得有可能打破高雅文化和流行文化、传统音乐制作形式、乡村节日和舞蹈文化之间的人为分离，以及大众媒体对音乐产品的挪用及其集体消费。受文化人类学和文化研究的启发，该项目强调大众文化实践的感官和身体历史维度，旨在对之前的“Popkult60”研究设计进行感官历史的延伸。在漫长的20世纪60年代，新音乐风格的产生和运用超越了纯粹的音乐维度。相反，我们正在处理的是音调、声音和图像感知的变化，这些变化受到新技术（电子音乐设备和放大器）的强烈影响，以新颖的方式触动和感动人们的新颖“共鸣”或“振动”。从这个意义上说，舞会不仅必须被理解为声音的场所，而且必须在其整个功能中被解释为表演仪式的舞台：换句话说，作为社会实验室，在其中排练或违背社会角色和秩序，体验和期望的物理和情感空间，以及代际断裂和代际凝聚力（例如，在俱乐部组织的舞会中）可以暴露出来。以舞会的形式，音乐、舞蹈和饮酒文化进入了一种感官和生活世界的共生关系，作为一种本体论的“Gesamtkunstwerk”，其对特定身份和大众文化形成的意义几乎没有历史研究。

The sub-project "From Dance Band to Cover Band" aims to make an empirical contribution to the study of rural areas as "in-between spaces" and to show the special dynamics of border regions as spaces of political, cultural and economic negotiation processes. The micro-historical approach of the research project (i.e. concrete research into the history of local music practices in selected villages in the Saar-Lor-Lux region and the Euregio) will enable a perspective on everyday history that explores the life-world contexts of both musicians and local audiences.This local historical focus of the research project makes it possible to break down the artificial separation between high and popular culture, traditional forms of music making and village festival and dance culture with mass media-influenced appropriations of musical products and their collective consumption. Inspired by research in cultural anthropology and cultural studies, which emphasizes the sensory and body-historical dimension of popular cultural practices, the sub-project aims at a sensory-historical extension of the previous research design of "Popkult60". The production and appropriation of new musical styles in the long 1960s transcends the purely musical dimension. Rather, we are dealing with a change in the perception of tones, sounds, and images that was strongly influenced by new technologies (electrical music devices and amplifiers), with novel "vibes" or "vibrations" that touched and moved people in novel ways. In this sense, balls must not only be understood as places of sound, but must be interpreted in their entire function as arenas of performative rites: in other words, as social laboratories in which social roles and orders are rehearsed or transgressed, physical and emotional spaces of experience and horizons of expectation sounded out, and generational fractures but also intergenerational cohesion (for example, in the organization of a ball by a club) can come to light. In the form of the ball, music, dance and drinking culture enter into a sensory and life-world symbiosis whose significance for the formation of specific identities and popular culture as an ontological "Gesamtkunstwerk" has hardly been historically investigated.