Welchen Stellenwert haben Musikcastingshows in Deutschland? Veröffentlicht von Anika Zaich am 12. April 2022 12. April 2022
Seit vielen Jahren sind Musikcastingshows nun schon ein wesentlicher Bestandteil des deutschen Fernsehens und gehören zu den nachgefragtesten Fernsehformaten Deutschlands. Während solche Shows früher einzelne besonders erfolgreiche Musikstücke und deren Komponist*innen kürten, suchen sie heute nach den ‚besten Stimmen Deutschlands‘ und zukünftigen Pop-Stars. Zahlreiche Fernsehsender haben inzwischen ihre eigene Musikcastingshows entwickelt oder vielversprechende Formate aus dem Ausland eingekauft. Das Konzept eines musikalischen Wettkampfs als Unterhaltungssendung ist eines der erfolgreichsten Konzepte für Musik im Fernsehen. Obwohl das Grundkonzept dieser Shows immer ähnlich ist, bringen sie den Sendern hohe Einschaltquoten.
Aber welche Bedeutung haben Musikcastingshows in der heutigen Gesellschaft? Dienen sie nur der Unterhaltung, bringen sie tatsächlich die nächsten Superstars hervor oder haben sie noch einen ganz anderen Zweck? Ziel dieses Beitrags ist es, einen Überblick über den wissenschaftlichen Forschungsstand zum Format der Musikcastingshows zu geben und dabei zentrale Aspekte näher zu betrachten.
Zuerst wird dazu die Entstehung und das Konzept von Musikcastingshows genauer thematisiert. Danach werden die Rezeptionsmotive und mögliche Erklärungen für den Erfolg von Musikcastingshows analysiert. Es folgt ein Abschnitt über die Teilnehmenden und die Karriere der Gewinner*innen nach ihrem Sieg und abschließend werden die Bedeutung von Musikcastingshows für die Musikindustrie und die mögliche Zukunft solcher Shows näher betrachtet.
Entstehung und Konzept von Musikcastingshows
Musikwettbewerbe im Fernsehen existierten schon vor dem Konzept der Musikcastingshows. Der erste Musikwettbewerb im deutschen Fernsehen war der Eurovision Song Contest , der seit 1956 jährlich ausgestrahlt wird und jedes Jahr zu den 10 beliebtesten Unterhaltungssendungen im deutschen Fernsehen zählt . Dabei treten Sänger*innen aus verschiedenen Ländern gegeneinander an, um ihr Land zu vertreten und diesem den Sieg zu holen. In den folgenden Jahren wurden viele weitere Musikwettbewerbe im Fernsehen ausgestrahlt, die hohe Einschaltquoten erzielen konnten. Erst Mitte der 1990er Jahre entwickelte sich das heutige Konzept der Musikcastingshows durch die steigende Nachfrage nach Reality-TV-Formaten .
Castingshows werden zum Genre des Reality-TVs gezählt und gehören damit dem sogenannten Affektfernsehen an. Affektfernsehen bezeichnet eine Art von Fernsehsendungen, in denen besonders auf Emotionalisierung, Personalisierung, Intimisierung und Skandalisierung Wert gelegt wird. In den Shows wird nicht nur das musikalische Talent der Teilnehmenden thematisiert, sondern auch eine fortlaufende Geschichte über deren Alltag, Leben und Persönlichkeit erzählt. Die Grenzen zwischen Privatem und Öffentlichem werden überschritten, was den Reiz dieser Formate ausmacht. Dabei unterscheiden sich die Shows darin, ob eher die Musik und Performance der Teilnehmenden oder typische unterhaltende Reality-TV-Elemente im Fokus stehen. Das Grundkonzept einer Musikcastingshow ist also eine Unterhaltungssendung, die einen musikalischen Wettbewerb beinhaltet .
Das Konzept der verschiedenen Formate ist meist ähnlich und unterscheidet sich nur in Einzelheiten. In einer ersten Runde präsentieren sich die Kandidat*innen einer Jury, die in der Regel aus drei bis vier Personen aus verschiedenen Bereichen der Musikbranche besteht. Diese entscheidet über die Aufnahme der Kandidat*innen in den Wettbewerb. Dabei singen die Teilnehmenden zumeist Hits bekannter Musiker*innen. In den weiteren Runden treten die Teilnehmenden immer wieder gegeneinander an, bis eine*r von ihnen am Ende als Sieger*in hervorgeht .
Rezeptionsmotive und Erfolg von Musikcastingshows
Die Zusammensetzung der Zuschauerzielgruppen von Musikcastingshows unterscheidet sich je nach Format, wobei Frauen zwischen 14 und 29 Jahren meist den größten Anteil bilden . Entsprechend unterscheiden sich auch die Rezeptionsmotive. Es lassen sich jedoch vier grundlegende Motive für die Rezeption von Musikcastingshows nennen. Das erste Motiv ist das Unterhaltungsbedürfnis . Dies ist die Hauptfunktion von Reality-TV-Formaten und trifft dementsprechend auch auf Musikcastingshows zu. Menschen sehen sich die Shows an, um ihre Bedürfnisse nach Unterhaltung, Spaß und Spannung zu befriedigen und Langeweile zu vermeiden. Ein weiteres Motiv ist das Informationsbedürfnis . Zuschauer*innen interessieren sich für die Kandidat*innen und die Musik. Durch die Rezeption wollen sie weitere Informationen über beides erhalten. Das dritte Motiv ist der Wunsch nach Integration und sozialer Interaktion . Musikcastingshows sind ein wesentlicher Bestandteil der deutschen Medienwelt, weshalb sich Menschen auch privat oder in den sozialen Medien über die Shows austauschen. Um sich hierbei einbringen zu können, verfolgen Zuschauer*innen die Castingshow regelmäßig. Das letzte Motiv ist das Bedürfnis nach persönlicher Identität . Besonders Kinder und Jugendliche sehen in den Kandidat*innen Vorbilder, mit denen sie sich identifizieren können und formen dadurch ihre eigene Identität. Auch mit zunehmendem Alter bleibt dieses Bedürfnis bestehen .
Der Erfolg von Musikcastingshows lässt sich besonders anhand sogenannter parasozialer Interaktionen und Beziehungen erklären. Als solche bezeichnet man Interaktionen der Zuschauer*innen mit Medienfiguren, die einer face-2-face Kommunikationssituation zweier realer Personen ähneln. Die Interaktion mit Medienfiguren wird demgegenüber als parasozial bezeichnet, da diese nicht auf die Zuschauenden reagieren können und die Interaktion somit einseitig ist. Wenn die Bindung zwischen Medienfiguren und Zuschauer*innen über die Sendung hinausgeht und eine längerfristige emotionale Beziehung aufgebaut wird, spricht man von parasozialen Beziehungen . Durch diese werden nicht nur die Kandidat*innen und die Show positiver wahrgenommen, sondern sie begünstigen auch den Kauf showeigener Produkte, wie beispielsweise den Debütsingles der Sieger*innen. Solche Beziehungen können sowohl zu den Kandidat*innen als auch zu den Jurymitgliedern aufgebaut werden .
Besonders zentral für den Erfolg einer Musikcastingshow sind außerdem die Teilnehmenden selbst. Sowohl ihre musikalischen Fertigkeiten als auch die Glaubwürdigkeit und Authentizität der Kandidat*innen sind entscheidend für die Wahrnehmung der Zuschauer*innen. Um den Erfolg der Sendung zu steigern, werden peinliche Auftritte von weniger begabten Musiker*innen von den Produzierenden in Kauf genommen oder sogar bewusst verstärkt. Ein bekanntes Beispiel hierfür ist der Kandidat Menderes Bağcı, der in mehreren Staffeln der Show „Deutschland sucht den Superstar“ auftrat. Solche Auftritte sorgen für eine höhere Präsenz der Show in verschiedenen Medien und begünstigen so die erfolgreiche Vermarktung. Diese Strategie stammt aus dem Affektfernsehen. Private Geschichten über die Teilnehmenden sind bei Musikwettbewerben zwar für das Gewinnen nicht relevant, begünstigen aber die Entstehung parasozialer Beziehungen. Jedoch darf die Inszenierung von der Produktion nicht übertrieben werden, da sonst die Authentizität der Kandidat*innen und der Show verloren geht .
Wer nimmt an Musikcastingshows teil und was passiert nach dem Sieg?
Obwohl Musikcastingshows schon viele Jahre existieren, ist der Ansturm an Bewerber*innen noch immer vorhanden. Eines der zentralen Motive zur Teilnahme an Reality-TV-Formaten ist die dadurch erzeugte Aufmerksamkeit. Teilnehmende wollen ihren großen Traum verwirklichen und hoffen, durch diese Aufmerksamkeit an Popularität zu gewinnen und so der Erfüllung ihres Traums näher zu kommen. Weitere Motive sind unter anderem die Bestätigung von Freund*innen und Familie. Diese ermutigen die Teilnehmenden dazu, sich aufgrund ihres Talents zu bewerben. Des Weiteren spielt auch die Liebe zur Musik eine Rolle. Meist geben Kandidat*innen an, schon seit ihrer frühen Kindheit zu musizieren und diese Leidenschaft für die Musik gerne mit einem großen Publikum teilen zu wollen .
Aufgrund bisheriger Staffeln von Musikcastingshows dürften die Teilnehmenden die Aussicht auf eine erfolgreiche musikalische Karriere allerdings nicht mehr als Motivation zur Teilnahme sehen. Die Sieger*innen der Shows veröffentlichen zwar meist eine erfolgreiche Debütsingle, jedoch ist dieser Ruhm häufig nicht von Dauer. Langjährige Karrieren sind bei Gewinner*innen von Castingshows in Deutschland selten. Die erfolgreichsten Sieger*innen gingen bisher aus der Castingshow „Deutschland sucht den Superstar“ (kurz DSDS) hervor. Mehrere Sieger*innen konnten hohe Chartplatzierungen erreichen und waren teilweise auch mit späteren Liedern in den Charts vertreten. Allerdings erleben die meisten Gewinner*innen nur einen kurzen, dafür aber intensiven Erfolg. Oftmals werden die Musiker*innen noch lange nach ihrer Teilnahme mit der Castingshow in Verbindung gebracht. Diese Verbindung kann dem Ruf schaden, da die Gesellschaft Castingshows häufig nicht mit Glaubwürdigkeit und Authentizität in Verbindung bringt. Zudem kann es passieren, dass nach Ende der Castingshow die musikalische Kompetenz der Teilnehmenden infrage gestellt wird, da Castingshows häufig Unterhaltungsfaktoren über das musikalische Talent stellen. Die Sieger*innen bauen zwar während der Show eine emotionale Bindung zu ihren Fans auf, allerdings verliert sich diese in den meisten Fällen nach Ende der Show. Die Künstler*innen können an ihren Erfolg in der Castingshow nicht anknüpfen und geraten somit schnell in Vergessenheit oder werden von einer neuen Castingshow verdrängt .
Die Bedeutung von Musikcastingshows für die Musikindustrie
Bereits seit Ende der 1990er Jahre hat die Musikindustrie aufgrund von Musiktauschbörsen und illegalen Musikdownloads mit Umsatzeinbußen zu kämpfen. Zudem werden Live-Events im Vergleich zu Tonträgern, Streaming und Downloads immer populärer. Erst seit dem Jahr 2013 verzeichnet sie wieder Zuwächse . Aufgrund der Verluste hat die Musikindustrie die Investitionen in neue Musiker*innen aus Gründen der Risikominimierung deutlich verringert: Sollten Künstler*innen keinen Erfolg haben, wären die Investitionen umsonst. Ein alternativer Weg, um mit wenig Investitionen neue Künstler*innen zu finden, sind Musikcastingshows. Die Musikindustrie unterstützt diese Shows und spart sich dadurch den Aufwand der Suche nach neuen Talenten und minimiert ihr Investitionsrisiko, da die neuen Künstler*innen direkt durch die Zielgruppe ausgewählt werden. Die Sieger*innen der Castingshows sind durch ihre Fernsehauftritte bereits in den Medien bekannt und können diese Aufmerksamkeit für die Veröffentlichung ihrer ersten Single oder ihres ersten Albums nutzen. Musikkonzerne und Plattenfirmen nehmen die Teilnehmenden nach ihrem Sieg unter Vertrag, um von den hohen Verkaufszahlen der Debüts zu profitieren. Oftmals werden nach Ende der Show auch Kompilationen von mehreren Teilnehmenden als Sammlung der von den Kandidat*innen vorgetragenen Songs veröffentlicht. Dadurch lassen sich besonders die Verkaufszahlen älterer Songs durch ein Cover wieder steigern .
Aber nicht nur die Sieger*innen sind für die Musikindustrie profitabel, sondern auch die Show selbst. Oftmals steht hinter einer Musikcastingshow ein ganz bestimmtes Musik-Label. Das Label nutzt die Castingshow, indem die Teilnehmenden beispielsweise gehalten werden, nur solche Lieder zu singen, die auf dem Label oder dem zugehörigen Musikverlag erschienen sind. Dadurch generiert die Musikindustrie Aufmerksamkeit für diese Titel und kann dadurch erhöhte Einnahmen für die unternehmenseigenen Produkte und Aufmerksamkeit für die Originalkünstler*innen generieren. Auch die Jury steht oft in Verbindung zu dem Musik-Label hinter der Show. Sie besteht meist aus Musiker*innen, die bei dem entsprechenden Label unter Vertrag sind oder zumindest mit ihm zusammenarbeiten. Durch die Show erhalten die Jurymitglieder Aufmerksamkeit und können die Verkaufszahlen ihrer eigenen Musikprodukte erhöhen .
Zudem nutzen Musikkonzerne die Fernsehshows auch für Gastauftritte bereits bekannter Musiker*innen, indem die dahinterstehenden Musiklabels sie in diesen Shows auftreten lassen. Auch diese Musiker*innen werden so stärker in den Fokus der Aufmerksamkeit gerückt. Meist geschieht dies kurz bevor jene Künstler*innen auf Tour gehen oder ein neues Album oder eine Single veröffentlichen, um somit dann diese Produkte von der erzeugten Aufmerksamkeit profitieren zu lassen .
Musikcastingshows in unserer Gesellschaft – heute und in Zukunft
Musikcastingshows sind entgegen eines möglichen ersten Eindrucks kein Sprungbrett in lange, erfolgreiche Musikkarrieren, sondern dienen in erster Linie hauptsächlich der Unterhaltung der Zuschauer*innen. Dabei werden Strategien aus dem Affektfernsehen eingesetzt, um Aufmerksamkeit zu generieren und den Unterhaltungswert zu steigern. Die Sieger*innen können später meist nur selten an ihren Erfolg während der Castingshow anknüpfen und erleben daher meist auch nur kurzzeitigen Erfolg in der Musikbranche.
Eine Hauptursache für den Erfolg von Castingshows beim Publikum sind entstehende parasoziale Beziehungen zwischen den Zuschauer*innen und den Medienfiguren. Die Zuschauer fühlen sich mit den Kandidat*innen und dadurch mit der Show verbunden, was zu einer Steigerung des Unterhaltungserlebens und dem vermehrten Kauf showeigener Produkte führt. Der Aufbau parasozialer Beziehungen wird durch Authentizität und private Einblicke in das Leben der Teilnehmenden begünstigt.
Zudem haben Musikcastingshows eine entscheidende Bedeutung für die Musikindustrie. Nach langjährigen Umsatzeinbußen können Musikkonzerne durch die Unterstützung der Shows neue Künstler*innen finden. Bereits etablierten Musiker*innen und bekannten Liedern bieten sie eine Plattform, auf der sich diese erneut präsentieren können. Dies führt zu erhöhten Verkaufszahlen, von denen die Musikindustrie profitiert.
Es bleibt die Frage offen, wie sich Musikcastingshows in der Zukunft verändern werden. Die Einschaltquoten sind heute zur Prime Time zwar immer noch hoch, allerdings gehen sie tendenziell in den vergangenen JAhren aus bisher unbekannten Gründen zurück. Eine mögliche Erklärung könnte sein, dass die Zuschauer*innen ihre Bedürfnisse durch den immer gleichen Ablauf der Sendungen nicht mehr befriedigt fühlen und sie deshalb seltener einschalten. Weitere Erklärungen könnten sinkendes Interesse oder eine Übersättigung des Markts durch zu viele Musikcastingshows sein. Jedoch bedarf es in Zukunft noch weiterer Forschung in dieser Richtung, um eine abgesicherte Erklärung zu finden .
Literatur
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