Das Subjekt Im Klang: Die Spezifische Soziale Funktion Der Musik in Der Romantik Um 1800 Und in Der Deutschen Technoszene Der 1990er Jahre
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Musik ist mit unzähligen sozialen Prozessen und Situationen in unterschiedlichen Bereichen der
Gesellschaft verknüpft. Dabei wird sie völlig anders eingesetzt, rezipiert und erfahren als andere Medien, etwa als die Schrift, die gesprochene Sprache oder Bilder. Vor diesem Hintergrund ist es überraschend, dass die Soziologie sich kaum für die Bedeutung der Musik in der Gesellschaft sowie für das Besondere dieses Mediums in seinem sozialen Kontext interessiert. Die Arbeit fragt deshalb in zwei Teilstudien nach der spezifischen sozialen Funktion der Musik. In der frühen Romantik und in der deutschen Technoszene der 1990er Jahre wird die Musik, so arbeitet der Autor heraus, zur Konstitution und Organisation von Subjektkulturen eingesetzt. Die Klänge sind ein Mittel zur Hervorbringung von Praxisformen und Diskurselementen, mit denen sich neue Formen des Ichs beschreiben und erproben lassen. Sowohl die Romantiker*innen als auch die Raver*innen hören das emphatisch idealisierte, kollektive Ich zudem in der Musik heraus. Sie wird so zu einem integrativen Symbol, das alle im Entstehen begriffenen Wissensgehalte und Handlungsweisen der Subjektform umfasst.
Max Ischebeck forscht zum Verhältnis von Musik und Gesellschaft in verschiedenen sozialen Dimensionen und Bereichen. Neben seiner wissenschaftlichen Tätigkeit ist er Leiter der öffentlichen Musikschule Springe und aktiver Jazzgitarrist.
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