Made in Germany: Studies in Popular Music

Portada de Made in Germany © Routledge

La editorial Routledge acaba de publicar Made in Germany: Studies in Popular Music dentro de la serie Global Popular Music Series. Editado por Oliver Seibt, Martin Ringsmut y David-Emil Wickström, el volumen sirve como una exhaustiva introducción a la historia, la sociología y la musicología de la música popular alemana contemporánea.

Cada ensayo está escrito por un especialista y cubre el trabajo de los principales representantes de la música popular, los distintos estilos y el contexto social de su producción. 

Contenidos

Introduction: Deutschland – Echt jetzt? German Popular Music’s Complicated Relationship with German Identity (Oliver Seibt, Martin Ringsmut, and David-Emil Wickström)

Interview: 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 (David-Emil Wickström)

Part I: Historical Spotlights

• 1: Transnational Networks and Intermedial Interfaces in German Popular Music, 1900-1939 (Caroline Stahrenberg)
• 2: Nazis and Quiet Sounds: Popular Music, Simulated Normality, and Cultural Niches in the Terror Regime, 1933-45 (Jens Gerrit Papenburg)
• 3: Conflicting Identities: The Meaning and Significance of Popular Music in the GDR (Michael Rauhut)
• 4: ‘Party on the Death Strip’ – Reflections on an Historical Turning Point (Susanne Binas-Preisendörfer)

Part II: Globally German

• 5: The Krauts Are Coming: Electronic Music and Rock in the 1970s (Ulrich Adelt)
• 6: German Metal Attack: Power Metal in and from Germany (Jan-Peter Herbst)
• 7: German Longings: A Dialogue on the Promises and Dangers of National Stereotypes (Melanie Schiller and Jeroen de Kloet)

Part III: Also “Made in Germany”

• 8: Peepl rock: Post-Soviet Popular Music in Germany (David-Emil Wickström)
• 9: Made in Almanya: The Birth of Turkish Rap (Thomas Solomon)
• 10: G.I. Blues and German Schlager: The Politics of Popular Music in Germany during the Cold War (Bodo Mrozek)

Part IV: Explicitly German

• 11: Neue Deutsche Welle: Tactical Affirmation as a Strategy of Subversion (Barbara Hornberger)
• 12: “One Day You Will Wish We’d Only Played Music”: Some Remarks on Recent Developments of Germany’s RechtsRock Scene (Thorsten Hindrichs)
• 13: Hallo Blumenau, bom dia Brasil! German Music Beyond Germany (Julio Mendiìvil)

Part V: Reluctantly German

• 14: “Meine Lieder sind anders”: Hildegard Knef and the Idea(l) of German Chanson (Reneì Michaelsen)
• 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 (Heiko Wandler)
• 16: Japonisme 2.0: German visual-kei Fans, Tokio Hotel, and the Popular Music Genre That Must Not Exist (Oliver Seibt)

Coda

• 17: The Germaican Connection – German Reggae Abroad (Martin Ringsmut)

Interview: Standing Up Against Discrimination and Exclusion: An Interview with Kutlu Yurtseven (Microphone Mafia) (Monika E. Schoop)