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The development of German pop music represents a fascinating cultural mirror to the history of post-war Germany, reflecting sociological changes and political developments. While film studies is an already established discipline, German pop music is currently emerging as a new and exciting field of academic study.This pioneering companion is the first volume to provide a comprehensive overview of the subject, charting the development of German pop music from the post-war period 'Schlager' to the present 'Diskursrock'. Written by acknowledged experts from Germany, the UK and the US, the various chapters provide overviews of pertinent genres as well as focusing on major bands such as CAN, Kraftwerk or Rammstein. While these acts have shaped the international profile of German pop music, the volume also undertakes in-depth examinations of the specific German contributions to genres such as punk, industrial, rap and techno.The survey is concluded by an interview with the leading German pop theorist Diedrich Diederichsen. The volume constitutes an indispensible companion for any student, teacher and scholar in the area of German studies interested in contemporary popular culture.

Popular music --- History and criticism. --- German culture. --- German music. --- Kraftwerk. --- pop music.

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Henry Fothergill Chorley was music critic of The Athaneum for over thirty years. This three-volume book originated in a journal written by Chorley while travelling in Europe, which he edited heavily before its publication in 1841. His aim was to 'illustrate the present state of theatrical, orchestral, and chamber music abroad', focusing on aspects that would be least familiar to an English readership. Volume 2, mainly on Germany, begins with Chorley's impressions of the Harz mountains. He then describes the cultural scene in Berlin - opera, theatre, art galleries and monuments. A final chapter reflects upon Parisian journalism of the time. Chorley's incisive and entertaining eye-witness accounts will fascinate music-lovers and theatre historians, as well as others interested in the performing arts or travel writing in the nineteenth-century.

Music --- History and criticism. --- Chorley, Henry Fothergill, --- Chorley, H. F. --- Chorley, Henry F. --- Author of Old love and new fortune, --- Old love and new fortune, Author of, --- Author of Modern German music, --- Modern German music, Author of, --- Bell, Paul, --- Chorley, H. T.,

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This book deals with three aspects that have been neglected in the burgeoning field of music and literature. The "First Movement" of the book considers writers from German Romanticism to the present who, like Robert Schumann, first saw themselves as writers before they turned to composition, or, like E. T. A. Hoffmann and Anthony Burgess, sought careers in music before becoming writers. It also considers the few operatic composers, such as Richard Wagner and Arnold Schoenberg, who wrote their own libretti. The "Second Movement" turns to literary works based specifically on musical compositions. This group includes, first and more generally, prose works whose author chose a specific musical form such as sonata or fugue as an organizational model. And second, it includes novels based structurally or thematically on specific compositions, such as Bach's Goldberg Variations. The "Finale" concludes with a unique case: efforts by modern composers to render musically the compositions described in detail by Thomas Mann in his novel Doktor Faustus. This book, which addresses itself to readers interested generally in music and literature and is written in a reader-friendly style, draws attention to unexplored dimensions of the music-literature relationship and to the sometimes unrecognized talents of certain writers and composers.

Theodore Ziolkowski is ProfessorEmeritus of German and Comparative Literature, Princeton University.

Music and literature. --- Musicians as authors. --- Musique et littérature --- Ecrits de musiciens --- Komponist. --- Literatur. --- Musik. --- Musikalische Form. --- Rezeption. --- Romantik. --- Schriftsteller. --- Deutschland. --- Frankreich. --- Authors --- Literature and music --- Literature --- German literature. --- German music. --- comparative literature. --- moden composers. --- music and literature. --- music composition. --- music theory. --- musicology. --- romanticism. --- scholarship.

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Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century.

Music --- Political aspects --- History. --- History and criticism. --- Germany --- Politics and government. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Contemporary Relevance. --- German Music. --- German Reunification. --- German-speaking Context. --- Ideology. --- Music Propaganda. --- Music and Politics. --- Nationalism.

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In this provocative analysis of Beethoven's late style, Stephen Rumph demonstrates how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. Impressive in its breadth of research as well as for its devotion to interdisciplinary work in music history, Beethoven after Napoleon challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. Beethoven's political views, Rumph argues, were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. Rumph contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. Rumph maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals.

Romanticism in music. --- Musical romanticism --- Romanticism (Music) --- Style, Musical --- Neoromanticism (Music) --- Beethoven, Ludwig van, --- Bītʹhūfin, --- Beethoven, L. van --- Beethoven, Louis van, --- Beethoven, Ludvig van, --- Bethovenas, L., --- Betkhoven, Li︠u︡dvig van, --- Beṭhoṿn, Ludṿig ṿan, --- Beethoven, Ludwik van, --- Betkhoven, L. van --- Bētōven, Rūtovihhi van, --- בטהובן --- בעטהאָוון, לודוויג וואן --- ベートベン, ルートビッヒ, --- 贝多芬, --- Criticism and interpretation. --- Europe --- History --- academic. --- beethoven. --- biographical. --- classical music. --- composer. --- conservative. --- economics. --- famous composer. --- freedom. --- french revolution. --- german composer. --- german ideology. --- german music. --- german musician. --- humanism. --- interdisciplinary. --- liberal. --- music history. --- musical composer. --- musical composition. --- napoleon. --- napoleonic. --- native german. --- native people. --- political commentary. --- political. --- politics. --- progress. --- religious studies. --- revolution. --- revolutionary. --- romantic. --- scholarly.