The Production of Popular Music in Austria and Germany, 1930-1950

1930-1950 年奥地利和德国流行音乐的产生

• 批准号: 525167726
• 负责人: Professorin Dr. Gesa zur Nieden, since 4/2024
• 金额: --
• 依托单位: Institut für Kirchenmusik und Musikwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/525167726?language=en
• 关键词: Production; Popular; Music; Austria; Germany

This project examines artistic and cultural agency in the production of popular music during the Nazi regime and Austrofascism, looking at a time range from 1930-1950. The focus is on all actors involved in the production process, i.e. not only composers and lyricists but also arrangers, performers, publishers, etc. We are interested in how theatre, dance and jazz songs and other forms of popular music moved within the framework of dictatorial cultural politics and were able to position themselves and negotiate social (racial, sexual or gender) or stylistic issues - for example, with regard to orientation towards North American swing, South American dance styles or Afro-Caribbean popular music. Printed and published sources, which today can be consulted in publishers' or public archives, and composers' estates, but which were inaccessible for a long time, form a central starting point for the musicological source research and analysis. Rich sheet music collections and adjacent archives provide an insight into repertoire, marketing and targeting strategies as well as the media networks in which popular music was produced, received, consumed and circulated - between performance on the music theater and concert stage, in printed sheet music, in music films as well as on recordings. The project team works on five sub projects that focus on music publishing industry, musical film production, song production, musical theatre and stagings of the body. The project will constantly exchange on mostly undocumented sources in regular (digital) project meetings, thus to enable and benefit from synergies in research. An international conference and two workshops will enlarge the internal research discourse through perspectives of internationally renowned specialists. This is the first project that comprehensively analyzes the popular music and musical theater scene during this period and that draws on such a broad range of sources, and focuses on the production of printed material. Since we also want to draw conclusions about cultural-historical continuities and discontinuities, we include the years before 1933 and after 1945 in our investigation and thereby avoid the impression of a historically closed period. In contrast to earlier research on this period of music history, we also take a comparative look at the trends in the domain of popular music abroad.

该项目考察了纳粹政权和奥地利法西斯主义时期流行音乐制作中的艺术和文化机构，时间范围为 1930 年至 1950 年。重点是参与制作过程的所有演员，即不仅是作曲家和作词家，还包括编曲家、表演者、出版商等。我们感兴趣的是戏剧、舞蹈和爵士歌曲以及其他形式的流行音乐如何在独裁的文化政治，能够定位自己并协商社会（种族、性或性别）或风格问题 - 例如，关于北美摇摆舞、南美舞蹈风格或非裔加勒比流行音乐的取向 音乐。印刷和出版的资料现在可以在出版商或公共档案馆以及作曲家的财产中查阅，但在很长一段时间内无法访问，它们构成了音乐学资料研究和分析的中心起点。丰富的乐谱收藏和相邻档案提供了对曲目、营销和目标策略以及流行音乐产生、接收、消费和传播的媒体网络的深入了解——在音乐剧院和音乐会舞台上的表演之间，在印刷乐谱中，在音乐电影以及录音中。项目团队致力于音乐出版业、音乐电影制作、歌曲制作、音乐剧和身体舞台等五个子项目。该项目将在定期（数字）项目会议上不断交换大多数未记录的来源，从而实现研究的协同效应并从中受益。一次国际会议和两次研讨会将通过国际知名专家的观点扩大内部研究讨论。这是第一个全面分析这一时期的流行音乐和音乐剧场景并利用如此广泛的资源的项目，并专注于印刷材料的制作。由于我们还想得出文化历史连续性和不连续性的结论，因此我们将1933年之前和1945年之后的年份纳入调查范围，从而避免给人留下历史封闭时期的印象。与之前对这一时期音乐史的研究不同，我们也对国外流行音乐领域的动向进行了比较。