DOCSLIB.ORG

Popular Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Popular Music Peter Wicke POPULAR MUSIC In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 350–375 Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel | POPULAR MUSIC 13 For decades rock and pop music have been the favourite genres of every age group, whether live or on recording. Here Peter Wicke points out the latest developments and describes the infrastructure. Silbermond giving an open-air concert on the banks of the Elbe River, Dresden, 2017 350 351 Popular Music | | Peter Wicke demand and mobile music, live music continues to gain in importance, even coun- teracting the media by re-incorporating such cultural practices as DJing into live contexts. Yet this anomaly is part and parcel of the music’s essence. Germany’s mu- POPULAR MUSIC sical life, too, reflects it in contradictory growth trends, allowing live music to un- dergo a boom (as witness the mushrooming of new festivals) while streaming and download platforms make the entire world of music available on the internet with Pop, rock, hip-hop, rap, soul, techno, dance, Schlager, commercial folk, brass band, a click of the mouse. Indeed, the internet as a whole has become a key factor in the chanson and all their many hybrids and sub-genres occupy a place of central im- way we deal with music; it is now available in 93 per cent of German households, portance in Germany’s musical life. Such names as Helene Fischer, Max Giesinger, including 33.2 million broadband connections. Even so, the National Association Tokio Hotel, Die Toten Hosen, Rammstein, Bushido and Paul Kalkbrenner have been of the Event Industry (Bundesverband der Veranstaltungswirtschaft) determined common parlance in Germany, and not only there. For decades rock and pop music that €3.7 billion were spent on concert visits in 2016, with a market segment of have been the undisputed top genres in standard surveys, no matter what the age 30 per cent (€1.1 billion) going to concerts of such popular genres as rock, pop, hard group, lending a special musical touch to everyday lives in every stratum of society rock, heavy metal, hip-hop and rap. In that same year total revenues from the sale (see also Karl-Heinz Reuband’s essay ‘Preferences and Publics’). of sound recordings (both physical and digital) amounted to nearly €1.8 billion, including royalties and synchronisation rights.1 Popular music, in all its many wide-ranging genres, is also an outstanding field for personal self-expression – a factor easily overlooked, given its omnipresence Despite the growing use of the media, active music-making, whether in its conven- in the media. For every musical career in the media there are literally hundreds tional form or in new forms based on software programs and recording equipment of recreational musicians from all age groups who satisfy their creative needs by making music on their own, with greater or lesser ambition. They give popular music those deep roots in daily life without which it would be unthinkable even in the context of the professional music industry. Furthermore, notwithstanding the preponderance of the media, popular music is a cultural terrain still dominated by live performance. This is not merely because only a tiny fraction of the musical ac- tivities in this field find their way into the media. Rather, it is because taking part in active music-making, and plunging into the network of social relations that arise from musical performance (and nowhere else), is one of popular music’s defining functional elements. The ‘scene’, with its characteristic local infrastructure of venues and music-related activities, plus the more or less permanent social groups, fan clubs and recreation al cliques associated with it, forms an arena of constantly growing importance for the acquisition of social skills and the expression of social identity and indi- More than 40 years on stage: the band Karat, founded in 1975, viduality. Viewed in this light, it is an odd anomaly that as the media ineluctably was one of the most successful formations in the former state strengthen their hold on music with streaming services such as Spotify, music-on- of East Germany. 352 353 Popular Music | Fig. 1 | Educational facilities for pop, rock and jazz Source: German Music Information Centre, 2018 (virtual music-making with computer- aided sound processing modules and TYPE OF FACILITY DJing), continues to play a large role in Tertiary-level music school or every category of popular music. Yet the comparable institution for Nordkolleg Rendsburg popular music Hochschule für Musik creative, cultural and social activities u. Theater Rostock University or university with integrated tertiary-level music connected with these popular music Musikhochschule Lübeck school Hamburger Hochschule für Musik u. Theater Hamburg Tertiary-level school of church forms, as well as the infrastructure that Konservatorium music Johannes-Brahms- HSM – Hamburg School of Music Private tertiary-level school, supports them and the web of institu- Konservatorium (Hamburg) conservatory or professional academy tions that condition them, are difficult to Hochschule für Künste Bremen Vocational music school Bavaria only SRH Hochschule der populären grasp. The reasons have to do with their Künste (hdpk) (Berlin) Other 2 evolutionary dynamism, their tightly in- Universität der Künste Berlin1 Humboldt-Universität zu Berlin Hochschule für Musik Hanns Eisler Berlin1 The British and Irish Modern Music Note: The map includes those facilities that terlocking nexus of glob al, regional and Hochschule Osnabrück Institute (BIMM) (Berlin) Music College offer separate degree programmes or train- Hannover Rock Pop Schule Berlin ing in jazz, rock or pop. Exceptions or special local processes, and their marked frag- Hochschule für Musik, cases are indicated in footnotes. Institutions Theater u. Medien Hannover that only offer isolated modules in these areas are excluded, as are music schools and mentation into more or less indepen- Universität Paderborn facilities of advanced or continuing educa- Westfälische Wilhelms-Universität Brandenburgische Techn. Universität tion. Also excluded are institutions with an dent subsystems, scenes, socio-cultural Münster – Musikhochschule Cottbus-Senftenberg emphasis on musicals or film music and those for part-time church musicians with a Folkwang Universität der Glen Buschmann Jazzakademie (Dortmund) milieus, fan groups and musical subcul- Künste – Campus Bochum focus on popular music. Facilities with more than one site are marked at the location of Hochschule für Kirchenmusik Hochschule für Musik u. Theater tures. The potential that lurks in this der Ev. Kirche von Westfalen – „Felix Mendelssohn Bartholdy“ Leipzig their headquarters. If the headquarters do Ev. Popakademie (Witten) 3 not have an emphasis on pop, rock or jazz, the map indicates only the site that features area of music, whether cultural, artis- Hochschule für Musik u. Tanz Köln such an emphasis. Hochschule für Musik tic, social or economic, has hardly been Carl Maria von Weber Dresden Detailed information on course offerings and Hochschule für Musik FRANZ LISZT Weimar training programmes of the facilities con- cerned can be found at tapped. As a result, the false impression Rock Pop Jazz Akademie www.miz.org/themenportale/jazz-rock-pop Mittelhessen (Gießen) has arisen that popular music largely 1 Stiftung Dr. Hoch's Konservatorium (Frankfurt) Jazz training at the Hanns Eisler School of Music and Berlin University of the Arts is given at the Berlin Jazz proceeds as portrayed in the media, with Wiesbadener Musikakademie FMW | Frankfurter Musikwerkstatt Institute, a joint facility of both institutions. 2 Chair of the theory and history of popular music. Hochschule für Musik Mainz an der future music school Hochschule u. Institut für 3 everything else being a negligible and Johannes Gutenberg-Universität Mainz (Aschaffenburg) The Evangelical Pop Academy is a facility operated ev. Kirchenmusik (Bayreuth) jointly by the Tertiary-level School of Church Music of Hochschule für the Evangelical Church of Westphalia and the founda- derivative by-product. Yet every week Staatl. Hochschule für Musik u. Musik Würzburg tion ‘Creative Kirche’. Darstellende Kunst Mannheim Berufsfachschule für Musik für Blinde, 4 The degree programme in popular music was offered Popakademie Baden-Württemberg Sehbehinderte u. Sehende (Nürnberg) by the former Freiburg University of Art, Design and the urban mag azines of Germany’s large (Mannheim) Hochschule für Musik Saar Hochschule für Kirchenmusik Popular Music, incorporated as Campus Freiburg in the (Saarbrücken) der Ev. Landeskirche Musication – Berufsfachschule Macromedia University since 2018. 5 für Musik (Nürnberg) cities alone advertise hundreds of mu- in Baden (Heidelberg) Hochschule für 5 Postgraduate programme in popular church music in Musik Nürnberg Die Musikerschmiede – Berufsfachschule cooperation with Popakademie Baden-Württemberg. 6 für Instrumentalsolisten (Zweibrücken) Berufsfachschule für Musik The map shows the headquarters; training takes place sical events mounted by professional, des Bezirks Mittelfranken music-college – Berufsfach- at 12 sites in Germany. (Dinkelsbühl) schule für Musik (Regensburg) Staatl. Hochschule für Musik u. semi-professional and non- professional Darstellende Kunst Stuttgart musicians, by DJs and sound artists. Hochschule für Kirchenmusik der Ev. Landeskirche
Load more

Recommended publications
  • Lieder, Die Ein Deutschlehrer Braucht
    Lieder, die ein Deutschlehrer braucht DOLORES RODRÍGUEZ CEMILLÁN Escuela Oficial de Idiomas de Fuenlabrada, Madrid s gibt viele und wichtige Gründe zum Einsatz Beispiele und Quellen von Liedern im Deutschunterricht: Lieder sind vor Allem authentische Texte, man kann mit Von der unten vorgestellten Liste sind bestimmte Lieder unt - ihnen die vier Fertigkeiten trainieren, sie er - entbehrlich und sehr empfehlenswert: so ist «1,2 Polizei« von leichtern die Ausprache und sie vermitteln Lan - Modo ist immer ein Erfolg, wenn man die Zahlen von 1 bis deskunde. Man kann Lieder fast für jede Un - 10 beibringen will. Oder «MFG» von den Fantastischen Vier terrichts− oder Lehrwerkseinheit gezielt ein - ist ein Rap-Hit zum üben des Alfabets und der Abkürzungen. setzen, da sie einen kreativen und motivieren - Immer wieder einsetzbar sind auch die deutschen Versionen den Umgang mit der deutschen Sprache er - von den Beatles, «Sie liebt dich» und «Komm, gib mir deine lauben und emotionale und kommunikative Hand», zwei bekannte Erfolge, mit denen man sehr schön Per - Kompetenzen ansprechen. Mit Liedern und sonalpronomen im Akkusativ und Dativ üben kann. Gram - Musik verbessern sich die kommunikativen matisch sehr interessant ist auch das Lied «Durch den Mon - und sozialen Kompetenzen der Lerner; man sun«, von Tokio Hotel, da hier viele Präpositionen kontextua - regt sie zu Leistungsbereitschaft an und hat lisiert vorkommen. Thematisch und landeskundlich gesehen, die Möglichkeit, Konzentrationsschwächen zu kompensie - ist das Lied «Deutschland» von den
    [Show full text]
  • Chronik Seit 2004 2004-2005 / 
    Die CHRONIK 2004-2005 / 1 seit 2004 August 2004 Ankündigung des Starts der Kampagne „Laut gegen Nazis“. September 2004 Peter Lohmeyer wird Partner der Kampagne / erste redaktionelle Beiträge. Oktober 2004 Smudo (Die Fantastischen Vier) und Johannes B. Kerner werden Partner der Kampagne. Spiegel Online und bundesweite Medien berichten. Planung und Ankündigung einer bundesweiten Konzerttournee und einer Hörbuchreihe zum Thema. Januar 2005: Hilferuf aus dem bayrischen Städtchen Wunsiedel – Planung des Auftaktes der Konzerttournee (im August 2005) als Zeichen gegen den von Neonazis geplanten Aufmarsch zu Ehren von Rudolf Hess. Der Ex-Chefsprecher der Tagesschau Jo Brauner wird Partner der Kampagne. April 2005: Der Fuball-Bundesliga Profi Sergej Barbarez wird Partner der Kampagne. Die Edgar Medien AG sponsert mit 550.000 Postkarten bundesweit die geplante Tournee und wird Präsentator. Die CHRONIK 2005 / seit 2004 Mai 2005: Claudia Roth als Privatperson und Extrabreit werden Partner der Kampagne. ©Malzkorn Juni 2005: MTV, VIVA, VIVA Plus steigen als Präsentator der Tournee in die Kampagne ein und stellen ein Mediavolumen von ca. 400.000,-- Euro zur Tournee (Spots,Trailer). Hilferuf aus Pößneck. Silbermond und Revolverheld werden Partner der Kampagne. ¤ Juli 2005: Jeanette Biedermann und Afrob werden Partner der Kampagne. August 2005: Veröffentlichung der ersten Hörbuch-Edition (bei membran international), gelesen von Peter Lohmeyer, Smudo, Jo Brauner, Eva Herman, Sergej Barbarez. 1.offizielle Pressekonferenz der Kampagne im Side Hotel Hamburg. Auf dem Podium: Jeanette, Smudo, Peter Lohmeyer, Johannes B. Kerner, Marek Erhardt, Anetta Kahane, Olaf P. Beck (Side Hamburg), Andrea Heussner (Wunsiedel), Stefan Meister (NDK Wurzen), Uli Grießhammer (Jugendinitiative Wunsiedel), Sebastian Kauder (ABC Pößneck) Leitung: Jörn Menge Die CHRONIK 2005-2006 / 3 seit 2004 September 2005: Relaunch der ersten Homepage.
    [Show full text]
  • Festivals 07-2012 Special
    Gampel VS; 16. bis 19. August OPEN AIR GAMPEL www.openairgampel.ch FOO FIGHTERS, PLACEBO, CYPRESS HILL, SILBERMOND, BEATSTEAKS, WALLISER FESTFREUDE BUSH, DEICHKIND, EAGLES OF DEATH METAL, DICK BRAVE, CHIDDY BANG, NOCH 250 EVENTS «Gampel» ist ein heisses Festival, nicht nur FIGHTERS und schrieb damit einen neuen NADA SURF, THE BEAUTY OF GEMINA, wegen des Wetters. Es sind die Menschen, Teil Geschichte. Was einst im Grunge daher- STEFANIE HEINZMANN, ... die es ausmachen. Im Wallis ist doch man- kam, wandelte der Schlagzeuger mit Ge - Zeltplatz beim Gelände, Do 8:00 bis ches anders. «Iischi Party» nennen sie das sangstalent in perfekt abgestimmten Rock Mo 12:00. Camper: Flugplatz Turtmann. «Open Air Gampel» hier. Und tatsächlich und liess sich zum Frontmann der Erfolgs - 4 Tage 202.-, 3 Tage 162.-; Gruppentarif wähnt man sich vor lauter Beizli, Bars und band küren. «Dear Rosemary» oder «Best of auf Anfrage HALBZEIT Ständen mehr an einer Party, wenn da nicht you» – man hofft auf das Gesamtpaket an die zwei grossen Openairbühnen wären, auf Rock am «Gampel»-Openair. 2 Bühnen, 9 Party- und Dancezelte denen Weltstars das Rhonetal beschallen. Mit den Hits «Unendlich», «Symphonie» oder IM HEISSEN FESTIVALSOMMER Der Platz ist hier nie ein Problem. Das «Irgendwas bleibt» eroberten SILBERMOND Schweizer sind heiss auf Openairs! Ausverkauft. Diesen Sommer kön- Festivalgelände ist gross, integriert sind auch die Herzen im deutschsprachigen Raum. Mit nen sich einige Festivals über Zulauf nicht beklagen. Auch das Wetter ein Funpark mit Chilbibahnen und mehrere gefühlvollen Texten und beeindruckenden FOO FIGHTERS machte bisher, wenn auch knapp, mit. An den effektiven Festivaltagen Party- und Dancezelte mit DJs vom Kaliber Konstel lationen im Gesang setzen sie ein blieb es meistens regenfrei.
    [Show full text]
  • Online Streaming and the Chart Survival of Music Tracks
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe Article — Published Version “I will survive”: Online streaming and the chart survival of music tracks Managerial and Decision Economics Provided in Cooperation with: John Wiley & Sons Suggested Citation: Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe (2020) : “I will survive”: Online streaming and the chart survival of music tracks, Managerial and Decision Economics, ISSN 1099-1468, Wiley, Hoboken, NJ, Vol. 42, Iss. 1, pp. 3-20, http://dx.doi.org/10.1002/mde.3226 This Version is available at: http://hdl.handle.net/10419/230292 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von
    [Show full text]
  • Deutschland 83 Is Determined to Stake out His Very Own Territory
    October 3, 1990 – October 3, 2015. A German Silver Wedding A global local newspaper in cooperation with 2015 Share the spirit, join the Ode, you’re invited to sing along! Joy, bright spark of divinity, Daughter of Elysium, fire-inspired we tread, thy Heavenly, thy sanctuary. Thy magic power re-unites all that custom has divided, all men become brothers under the sway of thy gentle wings. 25 years ago, world history was rewritten. Germany was unified again, after four decades of separation. October 3 – A day to celebrate! How is Germany doing today and where does it want to go? 2 2015 EDITORIAL Good neighbors We aim to be and to become a nation of good neighbors both at home and abroad. WE ARE So spoke Willy Brandt in his first declaration as German Chancellor on Oct. 28, 1969. And 46 years later – in October 2015 – we can establish that Germany has indeed become a nation of good neighbors. In recent weeks espe- cially, we have demonstrated this by welcoming so many people seeking GRATEFUL protection from violence and suffer- ing. Willy Brandt’s approach formed the basis of a policy of peace and détente, which by 1989 dissolved Joy at the Fall of the Wall and German Reunification was the confrontation between East and West and enabled Chancellor greatest in Berlin. The two parts of the city have grown Helmut Kohl to bring about the reuni- fication of Germany in 1990. together as one | By Michael Müller And now we are celebrating the 25th anniversary of our unity regained.
    [Show full text]
  • Austrian Rap Music and Sonic Reproducibility by Edward
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Poetic Loop: Austrian Rap Music and Sonic Reproducibility By Edward C. Dawson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German May 11, 2018 Nashville, Tennessee Approved: Christoph M. Zeller, Ph.D. Lutz P. Koepnick, Ph.D. Philip J. McFarland, Ph.D. Joy H. Calico, Ph.D. Copyright © 2018 by Edward Clark Dawson All Rights Reserved ii For Abby, who has loved “the old boom bap” from birth, and whose favorite song is discussed on pages 109-121, and For Margaret, who will surely express a similar appreciation once she learns to speak. iii ACKNOWLEDGEMENTS This work would not have been possible without an Ernst Mach Fellowship from the Austrian Exchange Service (OeAD), which allowed me to spend the 2015-16 year conducting research in Vienna. I would like to thank Annagret Pelz for her support, as well as all the participants in the 2015-2016 Franz Werfel Seminar, whose feedback and suggestions were invaluable, especially Caroline Kita and organizers Michael Rohrwasser and Constanze Fliedl. During my time in Vienna, I had the opportunity to learn about Austrian rap from a number of artists and practitioners, and would like to thank Flip and Huckey of Texta, Millionen Keys, and DJ Taekwondo. A special thank you to Tibor Valyi-Nagy for attending shows with me and drawing my attention to connections I otherwise would have missed.
    [Show full text]
  • Inhalt - Teil 1
    Inhalt - Teil 1 Vorwort (Gottfried Heinzmann) 8 Herzlichen Dank (Katja Heimann und Nicole Hauser) , 10 Praktische Tipps - Wie halte ich am besten die Liedandacht? 11 Die Songandachten 13 Ich+Ich: Universum 14 Freiheit; Nähe; Geborgenheit Udo Lindenberg feat. Jan Delay: Ganz anders 16 Identität Curse: Freiheit 18 Freiheit; Zuhause L Train: Marry me 20 Mut; Entscheidungen; Beziehung zu Jesus Jessie J: Price tag 22 Liebe Gottes; Selbstwert Laith Al-Deen: Sicher sein 24 Sicherheit; Vertrauen; Zukunft Kings of Leon: Use somebody 26 Vorbilder; Anerkennung Ich+Ich: Pflaster 28 Wunde Punkte; Heilung Andreas Bourani: Nur in meinem Kopf 30 Positives Denken; Negatives Denken; Neustart Unheilig: Geboren, um zu leben 32 Leben; Veränderung Lenny Kravitz: If you want it 34 Leben; Freiheit Bushido: Wärst du immer noch hier? 36 Liebe; Treue; Anerkennung 1 http://d-nb.info/1018131043 Curse: Und was jetzt? 38 Beziehung; Trennung; Vergebung; Liebe Philipp Poisel: Froh, dabei zu sein 40 Tod; Sterben; Hoffnung Blumentopf: Mehr 42 Unzufriedenheit; Veränderung Greenday: Boulevard of broken dreams 44 Lebensweg; Sinn des Lebens Laith Al-Deen: Alles an dir 46 Freiheit; Selbstbestimmung; Fremdbestimmung Jupiter Jones: Still 48 Vermissen; Zweifel Clueso: Zu schnell vorbei 50 Zeit; Veränderung Tim Bendzko: Nur noch kurz die Welt retten 52 Jesus; Nachfolge Revolverheld: Spinner 54 Berufung; Begleitung; Beziehung Die Toten Hosen: Ich bin die Sehnsucht in dir 56 Angst; Rettung; Sehnsucht Die Ärzte: Lasse reden 58 Ansehen; Lästern; Selbstwert Revolverheld: Halt dich an
    [Show full text]
  • Sportfreunde Stiller A-Team Ed Sheeran After Dark
    A Alive - Pearl Jam Aint no sunshine – Bill Withers Applaus applaus – Sportfreunde Stiller A-Team Ed Sheeran After Dark – Tito & Tarantula Angel - Sarah Mclaughlan All of me – John Legend All of me – Gerald Marks All along the watchtower – B. Dylan Ace of spades – Motörhead All around the world - Lisa Stansfield 80 Millionen – Max Giesinger Ain't no mountain – Marvin Gaye Ain't got you - Alicia Keys Ain't nobody – Chaka Khan Ave Maria – Franz Schubert An deiner Seite – Sunny Dale Are you gonna be my girl – Jet Accidentally in Love – Counting Crows All you need is Love – The Beatles American Jesus - Bad Religion Another Sad Song – Bandits Amelie Theme – Jan Thiersen Angels – Robbie Williams Auf uns – Andreas Bourani A thousand years – Christina Perri Awake my soul – Mumford & Sons B Baby im a fool – Melody Gardot Better together - Jack Johnson Budapest - George Ezra Baby can I hold you - Tracy Chapman Back in black – AC DC Billy Jean – Michael Jackson Blackbird – Beatles Bubbly - Colbie Caillat Bottle of wine – Maria Mena Big in Japan - Ane Brun version Bang Bang - Nancy sinatra Bridge over trouble water – Simon & Garfunkel Blame it on me – George Ezra Bologna – Wanda Bitte hör nicht auf zu träumen – Xavier Naidoo Big yellow taxi – Joni Mitchell Book of Love – Peter Gabriel Back to black – Amy Winehouse Bussi Baby – Wanda Basket Case - Green Day Blister in the Sun – Violent Femmes Because the night - Patty Smith Bei meiner Seele - Xavier Naidoo Baby can i hold you - Tracy Chapman Black Velvet – Alannah Myles Brenna duads guad – Hubert von Goisern Barfuss am Klavier - AnnenMayKantereit Be my baby – The Ronettes Bed of Roses – Bon Jovi C Crazy Love - Bob Dylan Chasing cars - Snow Patrol Can You feel the love tonight – Elton John Come fly with me – Michael Buble Cant help falling in love – Elvis Presley Crazy - Aerosmith Catch Me - Bandits Clocks - Coldpay Colourblind – Counting Crows Cheap thrills – Sia Cocain – J.J.
    [Show full text]
  • 2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
    2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson,
    [Show full text]
  • Download Download
    FORUM : QUALITATIVE Volume 8, No. 3, Art. 11 S O C IA L R ES EA RC H September 2007 S OZIALFORS CHUNG A Study of Media Influences on the Learning Strategies of Students in the First Years of Secondary School by Means of "Subtexts" Anja Kraus Key words: Abstract: Students' lives are more and more influenced by the media (e.g. television and the subtexts of Internet). These influences often extend to the learning strategies they use in school. To explore lessons at school, these influences further, the author used a method developed for the task to collect "subtexts" habitus, learning (comments students make to themselves during regular classroom lessons). These "subtexts" were strategies, collected during lessons in a 6th grade classroom and were subsequently analyzed using the docu- strategies of mentary method (BOHNSACK, 2003). It was found that some of the collected "subtexts" were learning, modeled on media prototypes, with these prototypes eventually influencing the learning strategies documentary employed by the students. This relationship is explored. method Table of Contents 1. The Theoretical Context: Research Question and Preconcepts 2. Empirical Approach to Research 2.1 The research instrument of an "auricle installation" 2.2 Design of the research 3. Analysis 3.1 Example of the reconstructive analysis of a "subtext" influenced by learning strategies modeled by media 3.1.1 Text interpretation 3.1.1.1 Formulating interpretation 3.1.1.2 "Reflecting interpretation" 3.1.1.3 Varieties of learning strategies (knowledge acquisition) modeled in G's "subtext" 4. Discussion and Outlook Acknowledgments References Author Citation © 2007 FQS http://www.qualitative-research.net/fqs/ Forum Qualitative Sozialforschung / Forum: Qualitative Social Research (ISSN 1438-5627) FQS 8(3), Art.
    [Show full text]
  • BUSHIDO Moritz Bleibtreu Karoline Schuch Elyas M´BAREK Hannelore Elsner
    BUSHIDO mOrItz BleibtreU karOlIne SchucH elyaS m´BAREK HannelOre elSner BernD eIchinger anD cOnStantIn fIlm preSent an UlI eDel fIlm a BernD eIchinger production frOm tHe makerS Of laSt exIt tO Brooklyn anD tHe BaaDer meInhof cOmplex Director Uli Edel cast Bushido Moritz Bleibtreu Karoline Schuch Elyas M’Barek Hannelore Elsner genre Drama language German length 94 min Produced by Constantin Film Production in co-production with Rat Pack Filmproduktion electro ghetto SYNoPSIS Top German rapper Bushido is on tour in Germany, when he receives a post card from his father. All the old memories come boiling to the surface: Growing up as a ghetto kid in Berlin, dealing drugs instead of going to school, slipping ever further into juvenile delinquency, heading towards a life of crime and prison. One image especially won’t let go of Bushido: His father beating his mother in front of him. At the height of his success as a rapper, Bushido must confront the demons of his past. It‘s not just times that are a-changing, it’s the times that change you. the DIRECTOR Uli Edel was born in 1947 and studied German Language Studies and Theater Sciences before enrolling at the Munich University of Television & Film, where he first met Bernd Eichinger, whom he worked with on numerous films. A selection of his award-winning films include: “Christiane F. – Wir Kinder vom Bahnhof Zoo” (1981), “Last Exit to Brooklyn” (1989), numerous other US event movies and mini-series like “Body of Evidence” (1993), “The Mists of Avalon” (TV, 2001), “King of Texas” (2002), “Julius Caesar” (TV, 2003), “Ring of the Nibelungs” (TV, 2004), as well as “The Baader Meinhof Complex” (2008), among others.
    [Show full text]
  • Karaoke Song Book Karaoke Nights Frankfurt’S #1 Karaoke
    KARAOKE SONG BOOK KARAOKE NIGHTS FRANKFURT’S #1 KARAOKE SONGS BY TITLE THERE’S NO PARTY LIKE AN WAXY’S PARTY! Want to sing? Simply find a song and give it to our DJ or host! If the song isn’t in the book, just ask we may have it! We do get busy, so we may only be able to take 1 song! Sing, dance and be merry, but please take care of your belongings! Are you celebrating something? Let us know! Enjoying the party? Fancy trying out hosting or KJ (karaoke jockey)? Then speak to a member of our karaoke team. Most importantly grab a drink, be yourself and have fun! Contact [email protected] for any other information... YYOUOU AARERE THETHE GINGIN TOTO MY MY TONICTONIC A I L C S E P - S F - I S S H B I & R C - H S I P D S A - L B IRISH PUB A U - S R G E R S o'reilly's Englische Titel / English Songs 10CC 30H!3 & Ke$ha A Perfect Circle Donna Blah Blah Blah A Stranger Dreadlock Holiday My First Kiss Pet I'm Mandy 311 The Noose I'm Not In Love Beyond The Gray Sky A Tribe Called Quest Rubber Bullets 3Oh!3 & Katy Perry Can I Kick It Things We Do For Love Starstrukk A1 Wall Street Shuffle 3OH!3 & Ke$ha Caught In Middle 1910 Fruitgum Factory My First Kiss Caught In The Middle Simon Says 3T Everytime 1975 Anything Like A Rose Girls 4 Non Blondes Make It Good Robbers What's Up No More Sex....
    [Show full text]