Pophörspiel: Popular music in radio art

Publikation: Beiträge in SammelwerkenKapitelbegutachtet

Standard

Pophörspiel: Popular music in radio art. / Schulze, Holger.
Perspectives on German Popular Music. Hrsg. / Michael Ahlers; Christoph Jacke. Taylor and Francis Inc., 2016. S. 67-73.

Publikation: Beiträge in SammelwerkenKapitelbegutachtet

Harvard

Schulze, H 2016, Pophörspiel: Popular music in radio art. in M Ahlers & C Jacke (Hrsg.), Perspectives on German Popular Music. Taylor and Francis Inc., S. 67-73. https://doi.org/10.4324/9781315600208

APA

Schulze, H. (2016). Pophörspiel: Popular music in radio art. In M. Ahlers, & C. Jacke (Hrsg.), Perspectives on German Popular Music (S. 67-73). Taylor and Francis Inc.. https://doi.org/10.4324/9781315600208

Vancouver

Schulze H. Pophörspiel: Popular music in radio art. in Ahlers M, Jacke C, Hrsg., Perspectives on German Popular Music. Taylor and Francis Inc. 2016. S. 67-73 doi: 10.4324/9781315600208

Bibtex

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title = "Poph{\"o}rspiel: Popular music in radio art",
abstract = "We hear glass breaking against the background of a cheap beat and a quirky, repetitive electronic bassline that is somehow theatrical. Farther away, we hear the shouts and sounds of human aggression. Something violent and emotional is happening and, back in the foreground, a smooth and soothing voice – a female news presenter – reports rather unemotionally about this emotional instance behind her: we hear the sound of a world as captured by the administration. It is all quite strange. What are we actually listening to? We are in fact listening to a 7″ single, and we are listening to a political protest. The protest occurred in 1981 in West Berlin, on the Kurf{\"u}rstendamm, or the {\textquoteleft}Kudamm{\textquoteright} in local argot. The record, on which this boulevard is the main actor in a political performance, is called {\textquoteleft}Berlin Q-Damm 12.4.81{\textquoteright}, released by the record label Riskant from Cologne. This label, focusing mostly on industrial and new wave music – and with a fish on chicken legs for its logo – would later include this political protest cum musical composition on the album {\textquoteleft}Der Durchdrungene Mensch/Indianer von Morgen{\textquoteright} (The Permeated Man/Indians of Tomorrow) by Heiner Goebbels and Alfred Harth.",
keywords = "Music education",
author = "Holger Schulze",
year = "2016",
month = jan,
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language = "English",
isbn = "9781472479624",
pages = "67--73",
editor = "Michael Ahlers and Christoph Jacke",
booktitle = "Perspectives on German Popular Music",
publisher = "Taylor and Francis Inc.",
address = "United States",

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RIS

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N2 - We hear glass breaking against the background of a cheap beat and a quirky, repetitive electronic bassline that is somehow theatrical. Farther away, we hear the shouts and sounds of human aggression. Something violent and emotional is happening and, back in the foreground, a smooth and soothing voice – a female news presenter – reports rather unemotionally about this emotional instance behind her: we hear the sound of a world as captured by the administration. It is all quite strange. What are we actually listening to? We are in fact listening to a 7″ single, and we are listening to a political protest. The protest occurred in 1981 in West Berlin, on the Kurfürstendamm, or the ‘Kudamm’ in local argot. The record, on which this boulevard is the main actor in a political performance, is called ‘Berlin Q-Damm 12.4.81’, released by the record label Riskant from Cologne. This label, focusing mostly on industrial and new wave music – and with a fish on chicken legs for its logo – would later include this political protest cum musical composition on the album ‘Der Durchdrungene Mensch/Indianer von Morgen’ (The Permeated Man/Indians of Tomorrow) by Heiner Goebbels and Alfred Harth.

AB - We hear glass breaking against the background of a cheap beat and a quirky, repetitive electronic bassline that is somehow theatrical. Farther away, we hear the shouts and sounds of human aggression. Something violent and emotional is happening and, back in the foreground, a smooth and soothing voice – a female news presenter – reports rather unemotionally about this emotional instance behind her: we hear the sound of a world as captured by the administration. It is all quite strange. What are we actually listening to? We are in fact listening to a 7″ single, and we are listening to a political protest. The protest occurred in 1981 in West Berlin, on the Kurfürstendamm, or the ‘Kudamm’ in local argot. The record, on which this boulevard is the main actor in a political performance, is called ‘Berlin Q-Damm 12.4.81’, released by the record label Riskant from Cologne. This label, focusing mostly on industrial and new wave music – and with a fish on chicken legs for its logo – would later include this political protest cum musical composition on the album ‘Der Durchdrungene Mensch/Indianer von Morgen’ (The Permeated Man/Indians of Tomorrow) by Heiner Goebbels and Alfred Harth.

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BT - Perspectives on German Popular Music

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PB - Taylor and Francis Inc.

ER -

Links

DOI