Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of pop music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into thematic sections: Historical Spotlights; Globally German; Also "Made in Germany"; Explicitly German; and Reluctantly German.
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viii | |
| Introduction: DEUTSCHLAND! -- Echt jetzt?: German Popular Music's Complicated Relationship with German Identity |
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1 | (15) |
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| Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany: An Interview with Peter Wicke and Udo Dahmen |
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16 | (11) |
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Part I Historical Spotlights |
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27 | (42) |
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1 Transnational Networks And Intermedial Interfaces In German Popular Music, 1900--1939 |
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29 | (10) |
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2 Nazis And Quiet Sounds: Popular Music, Simulated Normality, And Cultural Niches In The Terror Regime, 1933--1945 |
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39 | (9) |
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3 Conflicting Identities: The Meaning And Significance Of Popular Music In The Gdr |
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48 | (10) |
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4 "Party On The Death Strip": Reflections On A Historical Turning Point |
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58 | (11) |
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Susanne Binas-Preisendorfer |
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69 | (30) |
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5 The Krauts Are Coming: Electronic Music And Rock In The 1970S |
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71 | (10) |
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6 German Metal Attack: Power Metal In And From Germany |
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81 | (9) |
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7 German Longings: A Dialogue About The Promises And Dangers Of National Stereotypes |
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90 | (9) |
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Part III Also "Made in Germany" |
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99 | (34) |
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8 Peepl Rock: Post-Soviet Popular Music In Germany |
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101 | (10) |
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9 Made In Almanya: The Birth Of Turkish Rap |
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111 | (11) |
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10 G.I. Blues And German Schlager. The Politics Of Popular Music In Germany During The Cold War |
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122 | (11) |
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Part IV Explicitly German |
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133 | (30) |
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11 Neue Deutsche Welle: Tactical Affirmation As A Strategy Of Subversion |
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135 | (10) |
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12 "One Day You Will Wish Wed Only Played Music": Some Remarks On Recent Developments Of Germany's Rechtsrock Scene |
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145 | (9) |
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13 Hallo Blumenau, Bom Dia Brasil! German Music Beyond Germany |
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154 | (9) |
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Part V Reluctantly German |
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163 | (32) |
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14 "Meine Lieder Sind Anders": Hildegard Knef and the Idea(l) of German Chanson |
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165 | (10) |
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15 How Munich And Frankfurt Brought (Electronic) Dance Music To The Top Of The International Charts With Eurodisco And Eurodance -- And Why Germany Was Not Involved |
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175 | (9) |
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16 Japonisme 2.0: German Visual-Kei Fans, Tokio Hotel, And The Popular Music Genre That Must Not Exist |
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184 | (11) |
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195 | (21) |
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17 The Germaican Connection: German Reggae Abroad |
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197 | (19) |
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Standing up against Discrimination and Exclusion: An Interview with Kudu Yurtseven (Microphone Mafia) |
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207 | (9) |
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| Further Reading |
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216 | (7) |
| Index |
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223 | |
Oliver Seibt is Assistant Professor of Cultural Musicology at the University of Amsterdam, The Netherlands.
Martin Ringsmut is Research Assistant in the Ethnomusicology Department at the University of Cologne, Germany, where he has taught courses in Ethnomusicology and Popular Music Studies.
David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg, in Mannheim, Germany.
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