Made in Germany

Seibt, Oliver; Ringsmut, Martin; Wickström, David-Emil

doi:10.4324/9781351200790

Cited by 3 publications

(1 citation statement)

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“…Anthologies that aim to cover German popular music holistically tend to present the histories of both German states disproportionately in favour of West Germany, or only assign a minor role to the popular music of both the GDR and the post-socialist East Germany together and usually focus on rock and pop (Schütte 2017;Ahlers and Jacke 2018;Seibt, Ringsmut and Wickström 2020;Fulk 2021). They focus on West German phenomena which are considered to be innovative and which have received, often retrospectively, extensive media coverage both nationally and internationally.…”

Section: Tendencies and Desiderata Of The Historical Study Of The Gdrmentioning

confidence: 99%

Introduction

Rauhut

Peter

2022

POMH

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The history of popular music in the German Democratic Republic (GDR) is marked by disproportion on the one hand and gaps on the other. The majority of studies focus on phenomena that are assigned subversive qualities and the potential to lead to fundamental social change: jazz, blues, folk, and various styles of rock music. These genres are well documented in the archives that have opened up since the fall of the Berlin Wall. As Schlager, musicals or the operetta are considered to be light entertainment rather than culture, they are rarely researched. Gaps also exist with regard to the analysis of the musical artefact itself. Most research projects are dominated by an interest in historical events and focus on political forces and social effects, and the music itself is often ignored in favour of a discussion of the socio-political framework. This special issue presents new findings and invites a discussion on those methods that may contribute to a broadening of the perspectives on the history of popular music in the GDR.

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Section: Tendencies and Desiderata Of The Historical Study Of The Gdrmentioning

confidence: 99%

Introduction

Rauhut

Peter

2022

POMH

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Kirkland A. Fulk, ed., Sounds German: Popular Music in Postwar Germany at the Crossroads of the National and Transnational.

Zaddach¹

2021

POMH

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A history of flops and a new turn: The Turkish-German music interplay

Lund¹,

Lund²

2022

transposition

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Thanks to Ercan Demirel for his enormous archival support and to Cem Kaya for our valuable discussions. Thanks for hints and support goes to Erbatur Çavusoglu, Volga Coban, Edita Noth and Cevdet Yıldırım as well as to the anonymous peers and their careful, useful and thoughtful work on our text.They needed our manpower/The power to make things happen on the assembly line/ We humans were not interesting/So we remained unknown to you. Cem Karaca, "Es kamen Menschen an" (1984) 1 And the children of these people/Are divided into two worlds/I am Ata and I ask you/Where we belong now. Ata Canani, "Deutsche Freunde" (1984). 2 In the beginning, a few Turkish people visited our concerts. Last year in Germany, for example, only about ten percent of them did. Surprisingly, fifty percent of our visitors here today have Turkish roots. Merve Daşdemir from Altın Gün (2020) 3

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Made in Germany

Cited by 3 publications

References 0 publications

Introduction

Introduction

Kirkland A. Fulk, ed., Sounds German: Popular Music in Postwar Germany at the Crossroads of the National and Transnational.

A history of flops and a new turn: The Turkish-German music interplay

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