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 activities 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 recreational 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 in Württemberg (Tübingen) 2 Berufsfachschule für Berufsfachschule für Musik Accord ing to the most recent fig ures, Musik Krumbach Fachrichtung Rock/Pop/Jazz München Hohner-Konservatorium Trossingen Hochschule für Musik u. Theater München more than 10,000 professional per- Staatl. Hochschule Akademie Deutsche Hochschule Macromedia – für Musik Trossingen 6 Campus Freiburg 4 POP (Eichenau) formers were active in the ﬁeld of rock

Cartography: S. Dutzmann and pop music, as well as 725 DJs, not to Leipzig, 2018 mention a multitude of amateurs who National boundary 025 5075 100 © German Music Council/ make up a fundamental part of the activ- km State boundary German Music Information Centre ities in this sector. True, popular music 354 355 Popular Music |

Die Faantan stitiischene VieV er,r theth firfirst hipp-hop Hamburg, the Baden-Württemberg Pop Offices (Popbüros), the Berlin Music Pool banb d to performoro m ‘songonng-spspeecee h’ inn GerG mammann and the Berlin Musicboard. All of them bundle their funding and networking activities beneath the umbrella of the National Popular Music Association, and all of them focus their efforts on behalf of young talent and amateur musicians with ap- propriate training programmes. Among other initiatives, these associations hold competitions and award prizes, such as the German Rock & Pop Prize, awarded an- nually by the German Association of Rock & Pop Musicians in conjunction with the German Pop Foundation (Deutsche Popstiftung). The state music councils are also actively involved in this area with special funding projects. One example is the popNRW Project, initiated by the state music council of North Rhine-Westphalia and aimed specifically at young talent. The German Music Council has transferred its masterclass model from classical music to the world of pop music in PopCamp, thereby launching a special vehicle for the promotion of excellence. has been covered with a dense network of professional bodies, from the German Association of Rock & Pop Musicians (Deutscher Rock & Pop Musikerverband) to the various statewide rock organisations grouped beneath the National Working Fig. 2 | Socio-demographic overview of music buyers by repertoire segment Group of Rock Music Initiatives (Bundesarbeitsgemeinschaft der Musikinitiativen Total Total sound Schlager and Pop Rock1 Dance Classical2 B.A. Rock) to the National Popular Music Association (Bundesverband Popular- population recording market folk music musik). But owing to the peculiarities of this area of music, their membership 100% 15 16 figures do not allow us to determine the number of musicians who are actually 36 80% 42 41 41 40 41 50 years and older 50 active. The differences between musical categories, regions and localities are too 51 23 28 40 to 49 years 65 65 71 70 great, as is the percentage of amateur musicians who are not organised at all, but 60% 30 to 39 years 20 to 29 years are nonetheless too numerous to be treated as a negligible quantity. 26 24 25 24 25 28 28 32 10 to 19 years 40% 16 15

12 12 16 17 SUBSIDY AND TRAINING 15 14 16 16 13 12 20% 17 21 27 18 12 12 11 10 10 9 12 14 9 11 44 13 9 10 10 8 9 9 10 6 7 9 5 Given its social and cultural relevance, popular music has become a permanent 0% 44 1111 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 ﬁxture in the public subsidisation of Germany’s culture. There exists a wide range 100% 25 24 36 37 36 27 27 30 30 51 51 41 42 46 of funding programmes and projects on the federal, state and municipal levels that Female 50% 75 76 speciﬁcally target musicians working in this area. Particularly worthy of mention is 64 63 64 73 73 70 70 Male 49 49 59 58 54 Initiative Musik, a centralised funding body with several programmes designed to 0% 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 2016 2017 support young talent and infrastructural measures.3 No less important are the professional associations that have arisen in recent decades, such as Bavaria’s Popular Note: The figures are based on turnover at end-user prices, physical and download. 1 Incl. German-language rock, English-language rock, metal and punk. Culture Association (Verband für Popkultur), the statewide rock working groups in 2 Incl. crossovers. Lower Saxony (LAG Rock) and Rhineland-Palatinate (LAG Rock & Pop), RockCity in Source: GfK Consumer Panels from Musikindustrie in Zahlen 2017, ed. Bundesverband Musikindustrie (Berlin, 2018).

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A PopCamp concert in Berlin, 2017: Indianageflüster (top) and Ingold (bottom) exist alternative programmes outside the standard educational system, some privately financed, others publicly subsidised or entirely situated in the public sector. We need only mention the Jazz & Pop School (Darmstadt), the Frankfurt Musikwerkstatt, and the German Pop Academy (Akademie Deutsche POP), with 14 sites in Germany, Austria and the Netherlands. One facility that is perhaps unique in the world is the Baden-Württemberg Pop Academy, which opened its doors in 2003. It offers bachelor degrees in music business, pop music design and world music as well as master’s degrees in popular music and ‘music and creative industries’, all of which are specially aligned on these professional fields. Since then it has been enlarged to include a complex bundle of continuing education courses.

FESTIVALS The German Music Council’s PopCamp promotes bands Another important indicator for the value attached to popular music in the and single artists en route cultural subsidies of Germany’s states and municipalities is the huge number of to professional careers by festivals now existing in every category of popular music, most of which receive providing coaching, gigs financial support at a municipal level. This development has reached vast propor- and electronic press kits tions over the last 20 years. According to the National Association of the Event In- with video clips, interviews dustry, Germany’s music festivals, including those with classical music, had total and live recordings. revenues amounting to some €401.5 million in 2017, an increase of some 19 per cent within the space of four years. As a major factor in the economy, they thus rival pop concerts, which earned some €1.1 billion in revenue in 2017.4 The impor- The importance of this area of music in public funding has left a mark not least tance of festivals runs through all age groups and leads to record attendance on a great many educational programmes. Owing to the large percentage of re- figures year after year after year. In 2017, for example, more than 40 per cent of creational musicians, ‘learning by doing’ remains a central means of acquiring Germans above the age of 14 claimed to be highly interested in attending concerts musical knowledge and skills. Nonetheless, in recent years the range of op- of rock and pop music, or almost 73 per cent in the case of 14- to 19-year-olds (see tions for training and further education in this field has constantly expanded Fig. 1 in the essay ‘Preferences and Publics’). and now covers the entire country at a remarkably high level. Thus, 26 German universities and musical institutes of higher learning (Musikhochschulen) offer According to an estimate from the Hessian State Statistical Office, Germany wit- relevant educational programmes, as do some 30 other training, postgraduate nessed roughly 32 million visits to music festivals of every sort in 2015.5 The spec- and advanced education facilities, music academies and vocational schools (see trum ranges from nationwide events, some of which have been in existence for Fig. 1). According to the Association of German Music Schools (Verband deut- decades, such as the ‘Rock am Ring’ Festival on the Nürburgring motorsport com- scher Musikschulen, or VdM), more than three-quarters of the 930 public music plex (since 1985), Wacken Open Air in Schleswig-Holstein (since 1990), Schlager- schools in its membership offer instruction in rock and pop music. There also move in Hamburg (since 1997), Melt! in Ferropolis near Gräfenhainichen (since

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1999 after two false starts) and Schlagerhammer in Berlin (since 2016), not to in the form of music downloads and audio streams. The annual ﬁgures from the mention the many regional and local festivals that have taken a ﬁrm hold in Ger- Federal Music Industry Association (Bundesverband Musikindustrie) amounted to many’s musical life. €1.59 billion in 2017, including 70 million purchased physical recordings, 63 mil lion

Left: WhoMadeWho at the Melt Festival in Ferropolis (2018). Right: the festival grounds of Wacken (2018) paid music downloads and 56.4 billion music streams.6 This represents nearly 8 per THE MUSIC MARKET cent of the international music market. Of the 282,000 physical pop and classical albums available on the German market in 2017, 204,000 fell into the category of Turning to those who buy music, we notice that the male population clearly rock and pop music, including some 16,000 new releases (see Fig. 3). predominates: nearly two-thirds (63 per cent) are male, or even 76 and 73 per cent, respectively, in the categories of rock and dance music. Four out of ten people who Apart from insignificant deviations, the shares of repertoire categories vis-à-vis purchase pop music (41 per cent) are women, and slightly more (46 per cent) when the total revenue of the music market have remained fairly constant over the last it comes to Schlager (see Fig. 2). Although there are considerable differences by age decade, as in previous years (see Fig. 4). This suggests that the genres of popular group, as might by expected, it is striking that those over 50 now represent the music are embedded in socio-cultural substrata that change at best from one gen- largest percentage in practically every category with their expenditures on music. eration to the next. In other words, we are dealing with firmly rooted cultural value This corresponds to the demographic changes in German society as a whole. The systems and their associated patterns of functional utilisation that sustain this only exception is the category of dance music. music. Still, by reflecting consumer behaviour rather than genres in the music market, the categories conceal the fact that, in recent years, the process of musi- Physical recordings are still a leading medium for the presentation and communi- cal and stylistic differentiation has proceeded by leaps and bounds, especially in cation of professional and semi-professional popular music, even though 46.6 per the major forms of this sector: pop, rock, hip-hop, rap and dance. The socio-musical cent of Germany’s music industry revenue has now shifted to digital distribu tion processes, fan cultures, stylistic forms and music scenes, however intricately they

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Fig. 3 | Overall offerings and new releases of pop and classical recordings decisive repercussions for the social situation of the musicians, composers and songwriters actively involved. Moreover, given the economic importance and 2002 2005 2008 2011 2014 2017 magnetism of the sound recording market, it also has consequences for the event Quantity industry. Since 1995 the annual reports from the Federal Music Industry Associa- Overall classical oﬀerings1 tion no longer distinguish between national and international repertoires in their Audio albums 30,181 36,064 53,847 67,581 73,677 74,265 turnover ﬁgures. However, the percentage of German products in the ‘charts’, i.e. Video albums 467 905 2,459 2,818 3,600 4,149 Total classical 30,648 36,969 56,306 70,399 77,277 78,414 the weekly listings of top-selling recordings, downloads and audio streams compiled for the German Music Industry Association by the Consumer Research So- Overall pop recordings1 Singles 17,189 10,853 8,571 6,377 6,230 5,860 ciety (Gesellschaft für Konsumforschung, or GfK), is listed even though they prima Audio albums 107,265 132,640 155,341 174,274 191,281 198,938 facie exclude all releases and types of music aimed at specialist audiences. Even so, Video albums 2,135 5,218 7,870 6,472 6,177 5,402 the relative presence of German products in the charts is a clear indicator of the Total pop 126,589 148,711 171,782 187,123 203,688 210,200 ratios as a whole (see Fig. 5). Grand total 157,237 185,680 228,088 257,522 280,965 288,614

New releases by title2 (albums) Classical 6,520 5,872 5,805 5,649 6,623 4,178 Pop 20,511 18,812 22,050 17,321 16,929 16,111 Fig. 4 | Percentage of repertoire segments in overall turnover Grand total 27,031 24,684 27,855 22,970 23,561 20,289 of physical sound recordings and digital music products

Note: The figures are based on information from the PHONONET und DigiAS stocklist databases and refer exclusively to physical sound recordings. Repertoire 1 Different versions of a product are listed separately. categories 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2 Each title is included only once, even if it exists in different versions and article numbers. Box sets consisting of more than two units and samplers with different performers are excluded. Pop1 34.8 35.2 35.1 35.7 38.8 33.0 30.5 25.5 26.8 25.9 28.0 Source: Various annual issues of Musikindustrie in Zahlen, ed. Bundesverband Musikindustrie. German pop1 2.8 2.3 3.4 3.0 2.9 5.2 6.0 6.6 6.2 4.9 3.7 Rock2 20.5 21.5 18.7 20.0 19.5 21.7 19.2 21.9 20.3 21.9 19.8 Schlager 5.4 4.5 5.2 4.9 4.9 4.9 5.8 6.5 6.1 5.3 5.3 Folk music 1.7 2.2 2.2 1.9 1.8 2.4 2.8 2.2 1.9 1.8 1.3 may interweave, are becoming more and more fragmented. The term ‘mass cul- Dance 2.2 2.6 2.3 2.8 2.8 3.8 3.5 4.0 6.7 7.0 6.4 ture’ has long lost its meaning in this field, apart from a few stars shining in the Hip-Hop 1.8 2.5 2.2 1.8 2.0 2.8 3.5 3.6 8.6 9.8 12.6 heavens of the pop universe, but even they are becoming increasing ly ephemeral. Classical3 8.4 7.7 9.0 8.1 7.4 6.7 7.2 6.5 4.6 3.9 3.1 Jazz 2.2 1.8 1.7 1.5 1.5 1.6 1.4 1.4 2.3 2.1 1.8 Even if the consumer behaviour expressed in record industry figures cannot be Audio books 4.8 4.9 5.6 5.7 5.4 5.7 5.5 5.3 3.9 3.6 3.4 Children's products 6.4 6.1 6.1 6.7 6.2 5.9 6.7 6.8 7.3 8.6 9.8 mapped one-to-one onto musical and cultural behaviour as a whole, the basic Other4 9.0 8.6 8.5 8.0 6.9 6.2 7.8 9.6 5.5 5.0 4.6 proportions they display among the categories approximately mirror the overall Note: The figures are based on turnover at end-user prices, including VAT, and cover music videos (physical), downloads, ratios in the music industry. After all, sound recordings, like musical events, have mobile and (from 2015) premium streaming. The genre assignments are taken from PHONONET product registration. an uncontested central place in the economy; and ultimately the selling of records 1 ‘Pop’ includes all pop music in English and other languages, which may stem from German musicians. ‘German pop’ refers to pop music in the German language. is clearly, if indirectly, connected with all other activities in this field. This raises 2 Incl. German-language rock, English-language rock, metal and punk. 3 Incl. crossovers. an especially interesting question: what is the share of Germany’s own national 4 Incl. sound tracks/film music, country, instrumental music, Christmas releases, comedy and musicals. repertoire in the sales patterns on the sound recording market? The question has Source: Various annual issues of Musikindustrie in Zahlen, ed. Bundesverband Musikindustrie.

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Not only has the percentage of German releases in album format (LPs) nearly doubled over the last 15 years, compared to the 1990s Germany’s musical development has again managed to attain a leading position in the music market. Its proportion of LP productions in the charts was 17.9 per cent in 1991 and 23.2 per cent in 1999. Equally remarkable is the fact that seven of the ten most successful albums of 2017 were German-language releases. In any event, it is striking that, in Germany’s production, rap and hip-hop in particular, as well as a new fascination for Schlager, have long lifted German lyrics out of their former wallﬂower existence. A different picture emerges when we consider singles. This is related to digital forms of distribution: international products dominate the music downloads and audio streams, not least owing to the curated playlists of multi-national streaming services.

All in all, the media distribution of music has undergone a massive change in

recent years owing to the skyrocketing percentage of digital dissemination. The The rappeperrS Samy Deeluxuxxe at the c/o pop Festival (2018) number of audio streams alone has multiplied almost by a factor of ten in the last ﬁve years to 56.4 billion, and more than doubled in the last two. As a result, physical sound recordings (CD or vinyl) only account for 16 per cent of music consumption, whereas digital forms of distribution dominate with nearly 57 per cent. Only ter- restrial radio has maintained its place over the years at a stable 27 per cent. Online Fig. 5 | Percentage of national and international LP releases in top 100 charts radio, in contrast, has likewise witnessed sharp growth rates, from a good 6 per cent in 2016 to more than 10 per cent in 2017.7

100% 3.6 3.4 2.4 1.5 3.4 1.4 2.1 3.4 3.0

90% RADIO AND TELEVISION 27.7 28.5 80% 37.4 43.9 50.4 70% 53.3 50.7 In Germany, radio continues to play a crucial role in the communication of 59.1 66.9 Sound tracks 60% music, with pride of place in popularity clearly going to the popular music genres. More than 250 private and over 70 public radio stations, each with a music propor- 50% International releases tion of 70 per cent or more (depending on programme format), directly impact Ger- 40% 68.9 68.5 National many’s musical evolution by shaping habits of listening. Not least of all, both radio 30% 60.5 releases 54.7 and television are major pillars of Germany’s music business, thanks to the licens- 44.3 48.1 45.9 20% 37.4 29.5 ing fees they pay to the collecting societies GEMA and GVL, as we know from the 10% most recent annual reports. GEMA, for example, took in some €239 million in its 0% 2001 2003 2005 2007 2009 2011 2013 2015 2017 ‘broadcast’ category in 2017, an increase of roughly €4.5 million over the previous year. And GVL indicated income amounting to a good €83 million in 2016 from Source: Various annual issues of Musikindustrie in Zahlen, ed. Bundesverband Musikindustrie. ‘broadcast remuneration radio and TV’, nearly €1.5 million more than in 2015.8

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dio and television have been receiving from the (now unprecedentedly powerful) internet, quite different questions arise if the traditional media wish to stand up to this competition. In addition to audio streaming on the broadcasters’ online platforms, content on the internet is provided mainly via globally active streaming services such as Spotify or YouTube, which not only permit a thoroughly individualised use of music but have made the question of national quotas in programme contents patently obsolete.

In television, too, this development has recently led to a sharp change in the position of music. True, there are a few successful formats: the Eurovision Song Con- test is the most frequently viewed music broadcast in the world with more than 200 million viewers, and also achieves top ratings on German television (33.3 per TThee wiw nnen rro of Gerermrmmaanany’s prepr limimmininnaryy cent with 8.21 million viewers in 2018). But the percentage of music broadcasts rrouooundnd forf ththe 2018011818 EuE rovision SonSoonng ConC test: MicMi haeh llS Schhhulte in the overall television schedules, apart from the special-interest music channels, has dropped signiﬁcantly over the last ten years. In 2017 it amounted to less than 0.1 per cent of the First Channel of Germany’s ARD broadcasting association, even though no distinction was made between classical music and pop.11 This cor- Yet the purely instrumental use of music on ad-ﬁnanced private radio broadcasters responds to the viewers’ relatively low interest in such television broadcasts. To is not unproblematical, for the music programmes, being formatted for a particu- be sure, Schlager and folk music in particular have maintained their place in the lar target group, demand a sizeable counterweight in other forms of music dissemination lest the evolutionary dynamic and generic diversity suffer from radio’s juggernaut pull. FACTS & FIGURES

At the same time, this breakdown of music programmes on private and public ra- Where can young talents in jazz and pop music receive their training? dio reveals a considerable imbalance vis-à-vis the comparatively large share of What are the latest trends in musical taste? the German repertoire on the sound recording market. In 2017, for example, the radio charts compiled by the MusicTrace monitoring service listed only about 10 per The German Music Information Centre discusses the major developments cent German products among the 100 most frequently played titles on public and in its ‘Jazz, Rock & Pop’ portal. There readers can ﬁnd information on: private radio.9 The far less drastic disproportion of international music products in the past even prompted a hearing and a plenary debate in Germany’s Parliament >> Facilities for training and advanced education on ‘The Self-Imposed Obligation of Public-Law and Private Broadcasters to Promote >> Prizes, competitions and other promotional activities the Diversity of Pop and Rock Music in Germany’ (2004).10 Even so, and despite an >> Archives and special collections online petition for ‘More German Music on Radio’ launched in 2014, this subject is >> Professional associations and interest groups de facto no longer an issue: the percentages of German music are no longer even >> Key figures on music preferences and audiences displayed in the broadcasters’ standard statistics. Given the competition that ra-

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schedules with such live broadcasts as ‘Fest der Volksmusik’ (Festival of folk YouTube, with its billions of videos and its growth rate of 500 hours per minute music) and ‘Das Große Schlagerfest’ (The big Schlager festival). But music has a (including 5 per cent devoted to music),13 is an unbeatable competitor for the marginal position in television's overall output, despite such programmes as the 13- to 19-year-old age group, whose affinity for new forms of music and open- RTL format ‘Deutschland sucht den Superstar’ (Germany’s Got Talent), which re- mindedness toward new trends make them of paramount importance in popular volve entirely around music. The percentage of music broadcasts in 2017 among music. Music videos are far and away the favourite of YouTube users in Germany, the five largest television broadcasters ARD, ZDF, RTL, SAT.1 and ProSieben barely too, where 53 per cent of the users view them regularly at least several times a amounted to 0.9 per cent.12 These figures, being related exclusively to music pro- week.14 grammes, do not of course consider the fact that virtually everything on television, from advertising spots to motion pictures, is accompanied by music. Film scores For popular music, these structural changes in distribution mean that its production and advertis ing music are not only major genres in popular music, they also draw takes place in a national context where it receives a distinctive stamp, even when musically and stylistically on current trends in the overall offerings, thereby the songs are in English, the lingua franca of pop culture. On the other hand, its con- magnifying their cultural impact. sumption is becoming increasingly global and individualised on the internet. The consequences are growing disproportions in the money flows connected with the The digital distribution of music on the internet has likewise left clear traces on production of music on the one hand and the consumption of music on the other. special-interest music channels. VIVA, launched in 1993 and once highly successful as Germany’s music broadcaster whose programming centred on pop, rock, rap and hip-hop, ended operations permanently in 2018 when its viewer ratings had sunk Folk music and pop tunes figure among the beneath the measurable limit. MTV Germany, Germany’s version of MTV: Music most popular music broadcasts on the ARD. Television, has again been viewable on free TV since December 2017 after the chan- Shows with Florian Silbereisen sometimes nel switched to pay TV on Sky in 2011. But since 2015 it no longer has an indepen- reach more than five million listeners. dent German programme, but merely screens the programme of MTV Switzerland with German advertising slots. Even so, this special-interest channel, which origi- nated in the United States in the early 1980s and once exclusively broadcast music videos in rotation, stopped being a genuine music channel long ago, mutating in- stead into a sort of full programme for young viewers with an emphasis on reality TV and comedy. The centre of the music playlists falls on such specials as ‘MTV Rockzone’, ‘MTV Music Special’ and ‘MTV Top 100’, of which the latter was broadcast jointly with VIVA until April 2018 and included selected music videos from the official German charts. Today the broadcaster no longer sets its own highlights. In contrast, Deutsche Musik Fernsehen, which emerged from the digital music broadcaster Volksmusik.TV in 2011, has been able to establish itself quite success- fully with a programme of German-language music, principally Schlager and folk music. The same applies to TV internet streams such as Deluxe Music, which have ‘Hüttenparty’ and ‘Schlager Champions’ on MDR Television, sought out a target group above the age of 25 with a programme oriented on music moderated by Florian Silbereisen genres and consisting of music videos with emphases on the 1980s and 1990s. Yet in 2019

368 369 Popular Music |

EVENTS CONCLUSION

The situation in Germany’s event landscape conveys a completely different All in all, we face a many-layered picture dominated by four overlapping levels, picture. Notwithstanding the internet, for most musicians working in this sector, which are in turn criss-crossed by highly complex subdivisions: events are the main if not the sole vehicle for communicating their music. Accord- ing to a ‘Music Business Study’ of 2015, the roughly 1,300 concert organisers active › With nearly 63 million downloads and more than 56 billion music streams in the popular music sector achieved revenues of €1.6 billion in 2014, or €500 mil- in 2017, the spread of music in disembodied digitalised form has eclipsed lion more than the market for physical sound recordings and digital distribu tion.15 ev ery other form of music dissemination. Here individualised forms of music Some 40 per cent of Germans over the age of 14 told a survey in 2017 that they use with individual or curated playlists have taken hold within a largely de- were interested in attending events with rock and pop music, again more than in nation alised framework. previous years.16 › Nonetheless, physical recordings remain a central communication medium for all forms of popular music. They are still the point of departure for the In 2017 there were roughly 500 music venues in Berlin alone, of which 20 per cent chain of exploitation and dissemination, since new repertoire is initially gen- were discotheques, 65 per cent bars and pubs with music, and 15 per cent venues erated via conventional recordings (CDs and recently again vinyl). The physical for larger events, in which 2,700 music events took place each month.17 Taking a recording thus stands at the hub of the music market, even if it only represents closer look at the event industry, we notice a much greater frequency of those mu- slightly less than half of its revenue. With its commercial and cultural regu- sical styles that appear neither on the sound recordings market nor on radio and larities, the music market is the level that interlocks most tightly with things television as a preference. Of the approximately 500 events with live music (ex- happening in music on other levels. Behind the regularly documented market cluding classical music and opera) listed in the Berlin cultural magazines Zitty and processes we find low-revenue but culturally relevant developments which TIP in the last two weeks of June 2018, roughly 18 per cent fell in the category of may congeal into significant orders of magnitude on other levels, as can be so-called world music, ranging from tango to Brazilian, Cuban and African music seen in the position of world music or dance in the event industry. The number all the way to klezmer, Balkan music and the dance music from the French Antilles of small companies that primarily use the internet to market their highly spe- known as zouk. A good third of these events are performed by musicians who are cialised wares is steadily increasing, even though the turnover they obtain is either German or living in Germany. To this must be added the musical subcul- statistically negligible compared to what is earned by the dominant players on tures of Germany’s immigrant communities, most notably Turkish hip-hop, which the market. Germany’s Association of Independent Music Companies (Verband is performed in Turkish either by Turkish youths living in Germany or by Germans unabhängiger Musikunternehmen, formerly Verband unabhängiger Tonträ- of Turkish extraction. Beginning in the 1990s, it has since developed into an inter- gerunternehmen, Musikverlage und Musikproduzenten, VUT) currently repre- nationally acclaimed genre in its own right. The events performed by DJs or DJanes sents some 1,300 small and medium-sized operations, but the actual number of in Berlin’s roughly 100 dance clubs point to a much higher share of this segment market players is probably much higher, as the statistics do not include home- than the percentages on the sound recording market would have us believe. Even based companies or online turnover from small or minuscule firms based though we can assume a similar picture in every large German city (albeit not on abroad. These trade channels play a not insignificant role for the countless styles the same scale), there has been no overview of musical events to the present day. of dance music, alternative genres from indie rock to new age, and naturally A glimpse at the myriad summer festivals that proliferate in urban districts and for the diverse genres of world music, if only because the demand for many of towns all over the country, almost always with live music, would lead to further these products is so weak that they do not even crop up in the ordinary record and probably quite substantial adjustments to this picture. trade. The greater the fragmentation into miscellaneous music scenes, the

370 371 Popular Music |

professional or recreational musicians active on this level in particular (as well as the ‘members only’ policies of a good many dance clubs which are, and wish to remain, accessible only to the music’s active adherents) leads to idiosyn- cratic structures tied to the scene’s speciﬁc media.

In sum, the situation on this terrain of musical culture might best be captured in a paradox: the greater the complexity, the more potent the scene. Viewed in this light, Germany’s popular music scene is not badly off, apart from the continuing lack of institutionalised research in this area. The only exception is Freiburg Uni- BalBa kan Brasss BaB nd DeuDeutsctst chlahll nd andndnd YoYoututhth Brrassa BanBBa d NRW pere forminm ng in Coololoognee’s’s LutLuL hherer Churcu h versity’s Centre for Popular Culture and Music (Zentrum für populäre Kultur und dduduring tthe 2017 ‘BBrürücü kenklang’g projejeect,ct,t spponsonssoreo ed Musik), which emerged from the former Folk Song Archive in 2014. Other than that, byb the NoN rth Rhinei -Westphaliani MuMusicc CCouncill ever since the disbanding of the Popular Music Research Centre at Humboldt Uni- versity in Berlin in 2016, the field has been more or less handed over to a few spo- radic graduate theses. This does scant justice to the social prominence and potency greater the importance of alternative trade channels. Techno, with its count- of this sector of Germany’s musical culture, as an international comparison will less sub-categories from ambient to drum’n’bass and house to UK garage, is a amply confirm. good example. Specialised web portals with integrated online shops, internet radio, proprietary online charts and a broad array of information on music will probably become increasingly important here, as witness the role that the UK- based ‘Trust the DJ’ plays in the dance sector.18 › The third level – radio and television – has ceded its formerly central position Until his retirement in 2016, Peter Wicke was professor of the theory in musical evolution to the internet. Broadcasters are now trying to recover and history of popular music at the Institute of Musicology and Media this lost ground with their own online offerings, including in the music sec- Studies at Humboldt University in Berlin. He also headed the Popular tor. Since they possess high economic relevance for authors and producers of Music Research Centre at that same university and served as an music with their licensing fees, their vanishing shares of Germany’s music adjunct research professor in the Department of Music at Carleton production and their disappearing music broadcasts (in the case of television) University in Ottawa, Canada. border on the calamitous. › Finally, the fourth level, local events, is the most difficult to grasp, both in its structure and its impact. Here a dizzying array of activities converge, ranging from big commercial events to urban street festivals or similar local happen- ings. It is on this level that the fragmentation of styles proceeds the fastest, for 1 See Bundesverband der Veranstaltungswirtschaft [National Asso ci- scenes and sub-scenes are constantly rising up and being reshuffled without ation of the Event Industry], ed., Live Entertainment in Deutschland necessarily leaving a mark on the other levels of musical activity – and if so, (Hamburg, 2018), pp. 6 and 12, and http://www.miz.org/downloads/ then only after a considerable time lag. True, media visibility forms part of statistik/118/118_Gesamtumsatz_Musikverkauf_Leistungsschutzrechte_ success in pop music. But the large proportion of willingly or unwillingly semi- Synchronisation.pdf (accessed on 24 October 2018).

372 373 Popular Music |

2 Musikwirtschaft in Deutschland: Studie zur volkswirtschaftlichen 11 ARD Fernsehstatistik 2017 (Deutsches Rundfunkarchiv) (Frankfurt Bedeutung von Musikunternehmen unter Berücksichtigung aller am Main, 2018). That the total number of programme minutes Teilsektoren und Ausstrahlungseffekte, ed. Bundesverband Musik - clearly exceeds the daily 24-hour broadcasting period is accounted industrie et al (Berlin, 2015), p. 24, online at http://www.musik for by the splitting of pre-prime-time programmes. See the essay industrie.de/fileadmin/bvmi/upload/06_Publikationen/Musik ‘Music in Broadcasting’ in the present volume. wirtschaftsstudie/musikwirtschaft-in-deutschland-2015.pdf 12 Udo Michael Krüger: ‘Profile deutscher Fernsehprogramme – (accessed on 4 October 2018). Tendenzen der Angebotsentwicklung zur Gesamt- und Haupt- 3 Readers are referred to the subsidisation atlas of Initiative Musik sendezeit’, Media-Perspektiven 4 (2018), pp. 176-98, esp. p. 178, at http://initiative-musik.de/projekte/foerderatlas.html (accessed online at http://www.ard-werbung.de/fileadmin/user_upload/ on 24 October 2018). An overview of grants in the POP TO GO pro- media-perspektiven/pdf/2018/0418_Krueger.pdf gramme in all of Germany’s federal states is offered by the Sponsors (accessed on 15 August 2018). Forum for Pop Culture and Popular Music in Germany (Forum 13 Information from Social Media Today: Mind-Blowing YouTube Stats, der Popkultur- und Popularmusikförderer in Deutschland) at Facts and Figures for 2017 [Infographic] at https://www.socialmedia https://bvpop.de/pop/ (accessed on 24 October 2018). today.com/social-business/mind-blowing-youtube-stats-facts-and- 4 Live Entertainment in Deutschland (see note 1), p. 12. figures-2017-infographic (accessed on 24 October 2018). 5 Statistische Ämter des Bundes und der Länder, ed., Musikfestivals 14 Medienpädagogischer Forschungsverbund Südwest, ed., JIM Studie und Musikfestspiele in Deutschland (Wiesbaden, 2017), p. 17. Of the 2017: Jugend, Information, (Multi-)Media (Stuttgart, 2017), p. 43. 549 festivals consulted for this study, 328 cited special musical points 15 Musikwirtschaft in Deutschland (see note 2), pp. 30 and 31; of focus, more than half of which went to popular genres such as Musikindustrie in Zahlen 2014, ed. Bundesverband Musikindustrie rock or pop. See ibid., p. 31. (Hamburg, 2015), p. 9. 6 Bundesverband Musikindustrie, ed., Musikindustrie in Zahlen 2017 16 See the statistics for ‘Interest in attending rock and pop festivals (Berlin, 2018). or concerts’ (‘Interesse am Besuch von Rock- und Popfestivals bzw. 7 Information from Musikindustrie in Zahlen (see note 6), pp. 24ff. Rock- und Popkonzerten’) at http://www.miz.org/downloads/ 8 GEMA: Geschäftsbericht mit Transparenzbericht 2017, p. U3, online at statistik/132/132_Interesse_Besuche__Musikfestivals_Rock_Pop.pdf https://www.gema.de/fileadmin/user_upload/Gema/geschaefts (accessed on 24 October 2018). berichte/GEMA_Geschaeftsberich_Transparenzbericht_2017_inter 17 Lutz Leichsenring and Creative-Footprint.org: Creative Footprint aktiv.pdf (accessed on 15 August 2018); GVL: Transparenz- und Music: Measuring Live Music Space in Cities: Creative Footprint Geschäftsbericht 2016, p. 8, online at https://www.gvl.de/sites/ Overview + Methodology (2017), p. 13 at https://s3.amazonaws.com/ default/files/publications/download/gvltransparenz- creative-footprint.org/CFP-Overview-Methodology.pdf undgeschaeftsbericht2016.pdf (accessed on 15 August 2018). (accessed on 24 October 2018). 9 See http://www.radiocharts.com/html/annual_charts_de_main.htm 18 See http://www.trustthedj.com. (accessed on 15 July 2018). 10 Deutscher Bundestag: Stenografischer Bericht, 149. Sitzung, 17. Dezember 2004, 14022A, online at http://dip21.bundestag.de/doc/ btp/15/15149.pdf (accessed on 24 October 2018).

374 375 MusicAl life in Germany

This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

Advisers Dr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University The translated version of this publication of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music was made possible by the kind support Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | of Hal Leonard Europe GmbH. Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

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Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

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160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche 175 © Bertram Maria Keller (top) | © Rebecca Kraemer 162 © Notenspur Leipzig e.V./Foto: Daniel Reiche (middle) | © Heiko Rhode (bottom) Ch. 11 | Festspiele and Festivals 176 © Volker Beurshausen für LMA NRW 166 © EPiD Page Copyright Page Copyright 167 © EPiD/Foto: Marianne Gorka | 178 © Bundesakademie Trossingen/Nico Pudimat © EPiD/Foto: Hartmut Merten 179 © Landesakademie für die musizierende Jugend 300/301 © Axel Nickolaus 315 © Janet Sinica 169 © DCV/Alex Zuckrow | © DCV/Rainer Engel in Baden-Württemberg/Foto: Steffen Dietze 303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze 316 © Kurt Weill Fest Dessau GmbH/ Fotos: Sebastian Gündel 172 © Jan Krauthäuser 180/181 © Jan Karow 304 © Bayreuther Festpiele/Enrico Nawrath 185 © Jan Krauthäuser 306/307 © KunstFestSpiele Herrenhausen, 319 © Thüringer Bachwochen Fotos: Helge Krückeberg, 2018 320 © Ansgar Klostermann Ch. 7 | Orchestras, Radio Ensembles and Opera Choruses 308 © Thomas Ziegler 321 © Marco Borggreve 312 © WPR Schnabel (top left) | 322 © Musikfest Erzgebirge Page Copyright Page Copyright © Lutz Voigtländer (bottom left and right) 325 © Claus Langer/WDR 313 © Lutz Edelhoff 188/189 © Peter Adamik 205 © Susanne Diesner | © Jan Roloff 191 © Matthias Creutziger 207 © Gert Mothes 192 © Markus Werner 208 © Adrian Schulz Ch. 12 | Contemporary Music 193 © Marian Lenhard 211 © WDR | © WDR/Thomas Kost 194/195 © Peter Meisel (BRSO) 212 © Marco Borggreve Page Copyright Page Copyright 198 © Stefan Höderath 213 © rbb/Thomas Ernst 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © Deutscher Musikrat/Gerardo Scheige 202 © Ufuk Arslan 215 © Selina Pfruener | © Silvano Ballone 332/333 © SWR/Oliver Reuther 344 © IMD/Daniel Pufe 335 © Ursula Kaufmann/Ruhrtriennale 2018 345 © IMD/Jens Steingässer | © IMD/Daniel Pufe 336 © Martin Sigmund 348 © Antoine Porcher Ch. 8 | Independent Ensembles 337 © Koen Broos 349 © Markus Scholz (left and top right) | © Kathrin Singer (bottom right) Page Copyright Page Copyright 218/219 © Dominik Mentzos Photography 232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats- Ch. 13 | Popular Music 220 © Gerhard Kühne archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent Page Copyright Page Copyright 222 © Holger Talinski | © Geoffroy Schied (bottom right) 223 © Sonja Werner (top) | © Geoffroy Schied (middle and 350/351 © Timmy Hargesheimer 365 © Christian Faustus bottom right) | © Holger Talinski (bottom left) 233 Stadtarchiv Konstanz/picture: Stefan Morent 353 © Reinhard Baer 366 © NDR/Rolf Klatt 226 © Holger Schneider 234 © Fabian Schellhorn 356 © Carsten Klick 369 © MDR/ORF/Peter Krivograd | 227 © Capella de la Torre/Andreas Greiner-Napp 236 © Kai Bienert | © Barbara Aumüller 358 © Sandra Ludewig © MDR/ARD/Jürgens TV/Dominik Beckmann 229 © Jörg Hejkal 237 © Walter Vorjohann 360 Melt Festival © Stephan Flad 372 © Jan Krauthäuser 238 © Beate Rieker/ensemble recherche 361 © ICS Festival Service GmbH/Rolf Klatt

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