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.

该项目研究了纳粹政权和澳大利亚政权期间流行音乐的艺术和文化机构，其时间范围为1930 - 1950年。重点是所有参与制作过程的演员，即不仅是作曲家和抒情诗人，还包括编曲者，表演者，出版商等。我们对戏剧，舞蹈和爵士乐和爵士歌曲以及其他形式的流行音乐感兴趣，以及其他流行音乐在独裁文化政治的框架内移动，并能够定位自己，并在社交，种族，性或性格上进行宣传，例如，朝北宣传，例如，朝北挥舞着野外的挥舞，或者朝北宣传，或者是朝出的，或者是朝出的，或者朝北的挥舞或派遣者，或者朝北宣传或派遣者。非洲加勒比人流行音乐。今天可以在出版商或公共档案馆以及作曲家的庄园中咨询并发行的来源，但很长一段时间都无法访问，这是音乐来源研究和分析的核心起点。丰富的乐谱收藏和相邻的档案提供了有关曲目，营销和定位策略的见解，以及在音乐剧院和音乐剧院的表演，印刷乐谱，音乐电影中以及录制的媒体网络以及在其中制作，接收，消费和分发流行音乐的媒体网络。该项目团队从事五个子项目，这些项目专注于音乐出版行业，音乐电影制作，歌曲制作，音乐剧和身体的摊子。该项目将在常规（数字）项目会议中不断地交换大多数无证件来源，从而使研究协同作用并受益。国际会议和两个研讨会将通过国际知名专家的观点来扩大内部研究论述。这是在此期间全面分析流行音乐和音乐剧场的第一个项目，并借鉴了如此广泛的资源，并着重于印刷材料的生产。由于我们还想得出关于文化历史连续性和不连续性的结论，因此我们包括1933年之前和1945年之后的几年，从而避免了历史上封闭的时期的印象。与对这段音乐历史时期的早期研究相反，我们还对流行音乐领域的趋势进行了比较。