Germany in the Loud Twentieth Century

Abstract

The increasing popularity of the field of Sound Studies marks the sonic turn in cultural studies since the millennium. This compilation draws on a number of diverse fields, including journalism, history, cultural studies, music, architecture, and art history, to ask what Germany sounds like. The book is divided into five sections, organized thematically. The first section, “New Sounds in the Twentieth Century,” considers the rise of urban sound in the early 1900s and the radio play in the post-war years. Section two, “Defining Space through Sound,” focuses on the interactions between sound and space, particularly the very different soundscapes of the battlefield and the concert hall. Section three considers the divergent sounds of East and West Germany, through interviews and literature, and section four, “The Politics of Sound,” deals with music in socialist East Germany and the power structures inherent in acoustic surveillance. Finally, “Soundscapers of the Millennium” looks at sound art and hip-hop as two examples of the creative and political possibility of sound. Together the chapters consider the acoustic fingerprint of Germany, the cultural significance of sounds and space in the German context, spanning more than a century from the development and rise of sound-recording and sound-disseminating technologies in the early 1900s to today. This book is designed as an introduction to the topic and is accompanied by online teaching materials.

Performing the “quing of berlin”: transnational digital interfaces in queer feminist protest culture

“…Sookee's anti-capitalist stance and played-down style also contrast with LBR's aesthetics of excess and consumer fetishism. In her battle-rap style LBR presents an artistic and political challenge to male-dominated culture through a performative parody of the hypersexualized heteronormative female (Stehle 2012), whereas this is a stereotype Sookee seeks to dismantle in her work.…”

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“…Seberapa panjang (time) dan keras (volume) hasil refleksi ditentukan dari sifat-sifat absorbsi setiap material yang mempunyai frekuensi berbeda-beda. Sebagai contoh Katedral di Paris (Paris Notre Dame Catedral) mempunyai reverberation time 8.5 s dan Lecture Hall mempunyai nilai reverberation time di bawah satu detik karena bila berlebih akan mengganggu suara dosen ketika berbicara [5]. Sementara untuk parameter waktu, nilai reverberation time harus dibawah 1 detik ( 0.7 detik-0.8 detik) seperti yang ditunjukkan oleh grafik pada Gambar 3 Gambar 3.Perbandingan Reverberation time Sabine (SabT) dengan parameter lain[7]…”