Schlager - Das Lied als Ware

Kayser, Dietrich

doi:10.1007/978-3-476-99541-4

Cited by 17 publications

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“…I have chosen in this article to retain the 4. For an example of this kind of account, see German term Schlager, since the English 'hit Kayser (1975). song' is not only an inadequate translation of 5.…”

Section: Endnotesmentioning

confidence: 99%

‘A song goes round the world’: the German Schlager, as an organ of experience

Currid¹

2000

Pop. Mus.

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In recent work in film and cultural studies, the set of social configurations, practices of everyday life, and ideological formations that constitute twentieth-century ‘modernity’ have been increasingly the subject of research and debate. Fuelled by a renewed interest in critical phenomenologies of modernity, most prominently the work of Walter Benjamin and Siegfried Kracauer, scholars have focused the debate on the specific historicity of visual culture in the early years of the twentieth century, in order to illuminate the contradictory and fragmented nature of modern mass cultural experience. Fusing the theoretical traditions of critical theory with the empirical and theoretical interest in contradiction and contestation typical of cultural studies, not only does this debate open new perspectives for considering the problem of mass and/or ‘popular’ visual culture, it can also contribute to rethinking the way we discuss the historicity of popular music. Conversely, a more precise understanding of the historicity of popular music practice in modern mass culture, its institutions and modes of experience, can broaden the scope of this debate beyond the spectacles of visual culture to the ‘attractions’ of the acoustic.

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Section: Endnotesmentioning

confidence: 99%

‘A song goes round the world’: the German Schlager, as an organ of experience

Currid¹

2000

Pop. Mus.

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“…Some writers claim that all this music is imposed by go-getting culture industry profiteers on exploited consumers of cultural commodities (for example, Harker 1980), but this is only part of the story. 1 All this music could be neither sold nor distributed if there were no socially objective mass collectivity of (individual) subjective needs for its existence -and exploitation -not only quantitatively but qualitatively, that is, regarding the uses to which it is put (Frith 1978;Kayser 1976;Druud-Nielsen 1981). 2 Explaining the nature, qualities, and uses of this obviously ubiquitous music is a multidisciplinary task involving everything from business studies to theology, from electronics to sociology, anthropology, linguistics, psychology, and, of course, musicology.…”

Section: The Problemmentioning

confidence: 99%