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Home , 3sat, ARD (broadcaster), Bayerischer Rundfunk, BigFM, Deluxe Music, Deutscher Musikrat

Holger Schramm

MUSIC IN

In German Music Council / German Music Information Centre, ed., Musical Life in (, 2019), pp. 536–565

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 |

Music in Broadcasting

21 Music has always loomed large in broadcasting. Here Holger Schramm describes its importance to and to- day and what options these media offer for its consumption.

A live broadcast of a King’s Singers concert at the 2018 Schwetzingen Festival, transmitted by the South-western Broadcasting Corporation

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West German Radio in recording | Holger Schramm a concert performance (left) and a studio session (right)

MUSIC IN BROADCASTING

For broadcasters, and especially for radio broadcasters, music is a paramount element in their programming. Rightly so, for music is greatly in demand by the population. Of the 16 hours that we spend awake each day, we hear on average more than five hours of music transmitted by the media, most of it via radio and television.1 In short, broadcast music plays a central role in the daily lives of most Germans. Over the last years, however, broadcasters have received stiff com- petition from the musical offerings of the internet. ‘30 million songs. Streaming services such as Spotify or Apple Music offer unlimited access to the songs of hu- manity. Now anyone can hear anything at any time’, proclaimed Germany’s magazine in an article headline in early 2016. Since then Amazon has supervision of broadcasting. In consequence, it is statewide broadcasting laws even made it possible to access 50 million songs under the revealing title ‘Amazon that provide the constitutional framework for the state’s own Music Unlimited’. At least since the founding of streaming services, including the corporations (Landesrundfunkanstalten). legislation does the same for video portal YouTube, the amount of music accessible online has reached a dimen- private broadcasters, regulating their authorisation and supervision by the states’ sion beyond the scope of descriptive statistics. Moreover, broadcasters themselves own regulatory authorities. Interstate regulations and laws are set down in so- are increasingly presenting music online, making it accessible anywhere at any called ‘state treaties’ (Staatsverträge), which must then be signed by the minister- time on many different platforms. As a result, it is sometimes very difficult to sepa- presidents of the states concerned and ratified by the states’ parliaments. In 1987, rate broadcast offerings in the strict sense from telemedia in the broader sense. following a series of landmark decisions by the Federal Constitutional Court, the This essay will therefore describe the structure and development of musical con- dual broadcasting system was finalised by the federal states in the ‘State Treaty for tent unambiguously assignable to broadcasting and transmitted in the classical the Reorganisation of Broadcasting’ (Staatsvertrag zur Neuordnung des Rundfunk- sense, whether by analog or digital means. wesens). It regulates all the details of Germany’s broadcasting landscape and broad- casting operations, including not only the rules of programming and advertising LEGAL FRAMEWORK AND TASKS OF BROADCASTING but especially the division of tasks between public and private broadcasting. 2 It has done so as a pan-German state treaty since 1991 and in the form of the Twen- The major legal source for broadcasting in Germany is, first and foremost, its tieth Amended State Broadcasting Treaty since late 2016. Basic Law (Grundgesetz). Alongside freedom of the press, information and opin- ion, the Basic Law explicitly guarantees freedom of broadcasting as a basic right Public broadcasters must thus provide basic coverage in terms of a cultural and to which broadcasters, whether public or private, can appeal. The Basic Law as- educational mandate – i.e. wide-ranging, comprehensive and, where possible, signs culture, and thus broadcasting, to Germany’s federal states (Bundesländer). balanced offerings in the fields of information, education, culture and entertain- The states are thus primarily responsible for the legislation, administration and ment – while paying heed to regional needs. Conversely, to enable them to carry

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out this mandate with sufficient equipment, organisation and staff, their finances This is ensured through monitoring by external commissions or by the state media are secured by a compulsory license contribution from every household (Rund- agencies (which are likewise financed via license contributions) so as to offset their funkbeitrag), known until 2012 as a license fee (Rundfunkgebühr). This gives public power to influence opinion. Public broadcasting is organised along demo cratic lines broadcasters a guaranteed inventory and developmental potential, ensuring that through broadcasting commissions (Rundfunkräte) with representa tives from rele- they can keep pace with and accommodate evolutionary changes in technology, vant areas of society, including musical life. This involves the state music councils in society and culture. To a very limited extent, public broadcasters are also allowed particular, but also composer organisations (with the Bavarian Broadcasting Corpo- to finance themselves with proceeds from advertising. These proceeds are some- ration) or the State Academy of Cultural Education ( Broadcasting Cor- times viewed with suspicion, especially by private broadcaster associations, given poration). Public broadcasting is thus subject to social control. Private broadcasters, that income from license contributions amounts to more than €8 billion annually, in contrast, are chiefly sustained by specific business, media or political groups as with ARD receiving approximately €6 billion, the ZDF €2 billion and Deutschland- shareholders. Since they are wholly financed through advertising proceeds, their radio €250 million. It seems legitimate, however, to view advertising information entire programme can be geared to the market, to viewer and listener ratings and as part of a comprehensive information coverage involving products, services, and lucrative target groups. Germany’s private television broadcasters receive some sometimes political parties in run-ups to elections. €4 billion annually through adver tising, with pri vate radio broadcasters receiving

The Days of New Chamber Music: most of the roughly 600 works premièred at the festival since 1969 were commissioned by the Western Broadcasting Corporation. Private broadcasters need only fulfil a so-called basic standard (Grundstandard), i.e. their programming does not follow a cultural and educational mandate and roughly half a billion. Never theless, despite their market orientation and lack of an need not satisfy criteria of diversity and balance. Nonetheless, they must adhere educational mandate, private broadcasters are likewise enjoined by the State Treaty to certain rules, e.g. regarding child protection, personality rights and other con- to contribute to Germany’s cultural diversity in their programmes. This can and stitutional principles, including the inviolability of the dignity of the individual. ought to be a key criterion in the granting of licenses by the state media agencies.

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ORGANISATIONAL STRUCTURE AND CHANNELS tri-national cultural channel (in cooperation with ZDF, the Austrian Broad- casting Corporation and the Swiss TV broadcaster SRG SSR) and the Franco- German Public and private broadcasters alike offer a wide range of channels, various cultural channel (with ZDF and Télévisions). The Second German Tele- degrees of which are taken up by music. vision Channel (ZDF) also operates the dig ital chan- Germany’s public broadcasting corporations are de- Public broadcasting nels ZDFinfo and ZDFneo. scribed on the German Music Information Centre’s The channel ZDFkultur, spe- website, along with their music-related depart- Germany’s nine state-run public broadcasters – WDR (North -Westphalia), BR cialising in music, cinema ments and producers and the representatives for (), hr (), SR (Saarland), radiobremen and the multi-state broadcasters and the performing arts, had music and culture on their governing boards. NDR (), MDR (Central Germany), SWR (South-western Ger many) a strong inclination toward and rbb (-) – operate altogether seven regional television chan- nostalgia, airing reruns of such popular music shows as ‘Melodies for Mil lions’, nels known as Germany’s Third Television Channels. As the Association of Public ‘Musik liegt in der Luft’ (Music Is in the Air), ‘Show Palast’ and ‘ZDF Hit Parade’. It Broadcasting Corporations in the Federal Republic of Germany (ARD) they jointly was discontinued in 2016. present the nationwide television channel known as ‘’ (The First) as well as the digital educational and cultural channel ARD alpha. The ARD is also respon- Depending on the size and the cultural heterogeneity of its transmission , each sible for the children’s channel KiKA (‘Kinderkanal’, in cooperation with ZDF), the state broadcaster also offers from four to eight analog radio stations with contrast- ing contents and listener segments, thereby helping to fulfil its programming mandate as a whole. All these can also be received digitally nationwide via DAB

‘TaTabalbba ugauggag ’ withtht thhe MDRMD LeLeipzippzpzigg Raddioio Chihiildrlddrdren’s Choihohoir and live stream on web radio. Except in the case of hr, rbb and SWR, each state broadcaster also has up to four additional radio stations which, owing to VHF spec- trum scarcity, can be received only digitally via DAB in their home transmission area. All in all, state broadcasters offer 69 radio channels, of which 14 can only be received digitally. Although ZDF does not have radio stations of its own, it joins forces with ARD to carry the public radio broadcaster with its three nationwide stations , and the digi- tal pop channel for young adults, . (DW), a public broadcaster under federal law subject to regulatory oversight by the federal government, represents Germany’s international broadcaster, with a large empha- sis on information and a small amount of music.

In keeping with their cultural and educational mandate, almost all the state-run broadcasters maintain their own music ensembles (see Fig. 3). This amounts to more than 20 ensembles, including high-quality symphony orchestras, big bands, radio and chamber choruses and one children’s chorus (MDR). According to a re- port from the former parliamentary enquète commission on culture, Germany’s

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state-run broadcasters thus represent the largest producer of music in the world. By commissioning works, often from young and little-known composers, and repertoire: besides by performing, recording and broadcasting more than 1,000 concerts annually (in- classical music, the North cluding many world premières 3) in every region of Germany, they play a crucial German Radio Philharmonic role in the diversity and of the international contemporary music scene. also plays film music, early They function as initiators and sponsors of concert series (e.g. BR’s musica viva) music and opera, as well as and as organisers and facilitators of music competitions (such as the ARD Interna- special formats for children tional Music Competition in Munich4), music festivals (Donaueschingen, Witten and adolescents. Days of New Chamber Music) and school initiatives (the ARD’s music outreach pro- ject in conjunction with the German Music Council5), and are constantly involved in the cultural policy of federal and state governments in their capacity as major promoters of culture.

Private broadcasting

As regards television, private broadcasting in Germany is dominated by two com- panies: ProSiebenSat.1 Media SE and the RTL Group SA. The latter is 75.1 per cent owned by SE & Co. KGaA, one of the 15 largest media concerns in the world. Based in , ProSiebenSat.1 Media SE owns the nationwide television broadcasters Sat.1, ProSieben, and as well as several smaller broad- casters. The Cologne-based RTL Group SA holds 100-per cent ownership of RTL and the news broadcaster n-tv and part ownership of RTL II, Super RTL and VOX. Of niche broadcasters, special mention should be made of , MTV and VIVA (until 2018), which specialise entirely in music. According to the annual re- port of the state media authorities, another 214 regional and local television broad- casters contributed to local coverage of culture at the beginning of 2017.6 However, for years the number of broadcasters has undergone a steep decline. One reason is doubtless that the broadcasters, owing to their small transmission area, usually have negative profits. In other words, many programmes cannot be suffi- ciently capitalised on the local market, and cultural programmes in particular are usually cost-intensive.

Opposite page, top: the North German Radio Philharmonic playing a concert of film music requests. Middle: ‘Orchestra Detective’, a family concert. Bottom left: ‘Phil & Chill’. Bottom right: ‘Käpt’n Kruso’, a children’s concert 544 545 Music in Broadcasting |

Pop professionals coaching young vocal talents in ‘The Voice of Germany’, vantages of broadcasts from gramophone recordings quickly took hold (see Gerald broadcast by ProSieben and Sat.1 Mertens’s essay ‘Orchestras, Radio Ensembles and Opera Choruses’). Along with the emergence of rock and pop in the 1960s, the post-war baby boom ensured a high demand from young listeners for such broadcasters as Radio . Consequently, with a substantial time lag, Germany in the 1970s likewise saw the emergence of such youth-oriented and pop-heavy stations as SWF 3. The so-called ‘service waves’ (Servicewellen) of the 1970s offered an uninterrupted programme with a clearly defined spectrum generally oriented on mainstream music. The spoken parts were broadcast at fixed times every hour and were never more than three minutes long, giving listeners a simple and reliable programme structure.

From the mid-1980s three types of programming dominated Germany’s radio landscape:

1. Information, news and talk programmes 2. Full-service programmes, e.g. ‘middle of the road’ (MOR) 3. Music-based programme types which, compared to the other two, revealed Similarly, most of the 268 private radio stations that transmit via VHF and/or DAB the greatest variety and differentiation. are local or regional in their alignment. Only one out of four is transmitted nation- wide. In addition there are 20 statewide private stations that can be re ceived via Three aspects were taken into account when conceiving music programmes: DAB and/or .7 Especially worthy of mention are Schlagerparadies (Hit Tune Paradise) and , whose programme offerings can be inferred from 1. the style or genre of the music their very names. Both operate on the nationwide level as digital broad casters but 2. the target group, usually in the form of age groups, but occasionally divided by sometimes make use of local VHF backup frequencies. income, education and cultural background 3. the style of moderation, form of presentation and sometimes the overall im- MUSIC IN RADIO PROGRAMMES pression of the sound.

Music has been a major, if not the major, component of radio programmes in The most important types of music-based programmes in Germany’s radio land- Germany since the very inception of broadcasting. The first music broadcast on scape are discussed below, in each case, where possible, with examples from pri- radio, a classical concert from Vox House in Berlin, was transmitted on 29 Octo- vate and public broadcasters (see Fig. 1). ber 1923, thereby establishing so-called ‘entertainment radio’ (Unterhaltungsrund- ). In early years the broadcasters had music performed by their own ensem- The amount of music in music programmes is on average roughly 70 per cent.8 bles, usually live. This practice was retained, and in the that followed the The percentage is higher on average for private broadcasters than for public broadcasters’ own symphony orchestras could brook comparison with the best broadcasters, mainly because the state-run public broadcasters, in addition to ensembles in the world and hire conductors of comparable stature. However, the ad- AC, CHR and ‘Melodieradio’ channels, also have more heavily informative cultural

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Fig. 1 | Breakdown of music programmes on radio channels. This is slightly different in the case of light music, which some stations do not broadcast at all on digital channels. In contrast, light music dominates such

Type of programme Music Target group Moderation Examples Comments broadcasters as BR, which has shifted large parts of its light music to the digital

Antenne Most common area to channels such as BR Heimat (folk music) and Bayern plus (hit tunes and Current hits, hits Moderately Bayern, programme type Adult of the last 30 Ages standards). Classical music does not figure at all in the digital channels of most youthful and radio ffn, (ca. 50 % of Contemporary (AC) years; tuneful pop 14 to 49 pushy NDR 2, private state-run broadcasters, except in the case of MDR, with its digital channel MDR and rock items SWR3 broadcasters) Klassik and 502 additional broadcast minutes each day.9 Current hits from Second most the top 40 charts; bigFM, Contemporary Youthful, common hits of the last 1 Ages Radio Energy, In the wake of the debates on cultural and musical diversity in radio programmes, Hit Radio brash, fairly programme type or 2 years; wide 14 to 29 N-Joy, (CHR) pushy (ca. 15 % of priva- range of genres (as You FM and given that many European countries have quotas for home-grown music, Ger- te broadcasters) in the charts) many too has, over the years, constantly faced the question of how much German- Classical music, Better- Found in portfo- language music (or at least music created by German composers and lyricists) esp. familiar or educated WDR 3, lios of all public popular 17th- to listeners Unobtrusive, should be aired in radio programmes, and what effects this might have.10 There BR-KLASSIK, broadcasting Classical radio 19th-century from age objective, hr2-kultur, companies but works (or ex- 18, average respectful is no overlooking, or overhearing, that German-language music currently bulks Klassik Radio only one private cerpts); jazz; world age above radio broadcaster large on the charts and programmes of the broadcasters with the largest transmis- music; film music 40 sion areas. According to figures from GEMA, in 2014 German music already took up Mixture of schla- 35 years 105’5 Spree- Adult, First broadcast ger, schlager-like and older, radio, 28 per cent of broadcasting time in the non-classical segment (pop, rock and light Melody radio cheerful, in 1989 by Radio folk music and average age NDR 1, 11 bouncy Arabella, Munich music) and even 32 per cent in the classical segment. operetta tunes above 50 WDR 4

Progressive rock; Better- Created as Album many album titles educated Unobtrusti- counter-reaction Rock Antenne Oriented Rock (AOR) not placed in the listeners ve, objective to CHR charts from age 18 programmes

Source: Compiled for the German Music Information Centre by Holger Schramm.

programmes and, especially, exclusive information and news channels in their portfolios. As a result, the public broadcasters have an average of 60 per cent music over all their channels (or 40 per cent in the case of Deutschlandradio, with its information and news ‘flagship’ Deutschlandfunk). Almost half of this percentage falls on pop and rock music, roughly a quarter on so-called Unterhaltungsmusik (‘light music’, i.e. hit tunes, pop standards, operetta melodies and folk music) and a fifth on classical music (see Fig. 2). In recent years the percentage of the latter has continuously declined, also owing to digital channels. A glance at the relevant Wolfgaf ng Niedecken, a singer with the baandan BAPP, broadcast slots clearly reveals that many stations massively increase (in some modmodo eraeer ting a show on West German Radioio cas es almost double) their daily output of pop and rock music through their digital

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Fig. 2 | Music and talk programmes from ARD radio broadcasters

State-level broadcasting corporation Percentage of music and talk programmes Percentage of music in entire programme over time2 DLR DW4 by broadcaster (2017)1 BR HR MDR NDR RB RBB SR SWR WDR Total 30% Number of stations 9 6 9 11 57688 6939 DLR Radio stations5 567847486 5529 WDR 25% stations 4 -231 -2 -2 141- SWR Total airtime in thousands of minutes SR 20% Total in 2017 4,825 3,164 4,962 5,851 2,628 3,913 3,154 4,581 4,253 37,332 1,639 245 RBB 15% Radio stations 2,723 3,164 3,897 4,274 2,102 3,913 2,102 4,581 3,202 29,960 1,113 245 RB Digital radio stations 2,102 - 1,064 1,577 526 - 1,051 - 1,051 7,371 526 - NDR 10% Total airtime by genre and format in 2017 (in thousands of minutes)6 MDR Music 2,721 1,892 3,250 3,700 1,939 2,310 2,032 3,037 2,769 23,651 653 12 5% HR Radio stations 1,441 1,892 2,324 2,737 1,472 2,310 1,576 3,037 1,867 18,657 315 12 BR Digital radio stations 1,279 - 926 963 467 - 456 - 902 4,994 337 - 0% 0% 20% 40% 60% 80% 100% 2006 2008 2010 2012 2014 2016 2017 Rock and pop 1,077 1,131 751 1,190 1,162 841 1,048 1,697 1,428 10,325 43 -

Music Talk Advertising Rock and pop Light music Classical music Radio stations 581 1,131 751 703 657 841 782 1,697 715 7,859 43 - Percentage in entire programme (incl. digital radio) Digital radio stations 496 - 0 487 505 - 266 - 713 2,466 0 - Light music 921 393 1,817 716 270 330 485 1,031 900 6,862 316 - 3 Airtime by music style and broadcaster (2017) Radio stations Radio stations 175 393 1,370 206 270 330 325 1,031 740 4,840 93 - Digital radio stations Klassik Digital radio stations 746 - 447 510 0 - 160 - 160 2,022 223 - Rock and pop Light music Classical music Classical music 523 368 710 291 179 793 289 309 544 4,006 101 - DLR 43 93 223 101 Radio stations 523 368 208 288 179 793 259 309 514 3,440 101 - Digital radio stations 0 - 502 3 0 - 30 - 30 565 0 - WDR 715 713 740 160 514 30 Talk programmes 2,081 1,236 1,679 2,139 659 1,567 1,096 1,502 1,463 13,422 986 233 Information and services 1,782 837 1,157 2,097 605 1,712 1,132 1,038 758 11,117 787 - SWR 1,697 1,031 309 Culture and education 300 146 143 538 318 137 127 222 467 2,397 389 -

SR 782 266 325 160 259 30 Entertainment 198 253 351 1,008 65 64 48 243 136 2,366 3 - Radio advertising 24 36 33 12 29 36 25 42 21 259 0 - RBB 841 330 793 Note: The figures listed above are based on data collected by the relevant broadcasting corporations as part of the ARD’s radio statistics and published online by the German Broadcasting Archive (Deutsches Rundfunkarchiv). Since 2016 the statistics have also RB 657 505 270 179 included figures from digital radio; these stations broadcast exclusively in digital form via cable, satellite, DAB+ and/or the internet, i.e. without analog terrestrial transmission.

1 NDR 703 487 206 510 288 3 Percentages of entire programme, including digital radio; without Deutsche Welle (DW). 2 Only state-level broadcasters, i.e. without Deutschlandradio (DLR) or Deutsche Welle (DW). 3 Excl. Deutsche Welle (DW). MDR 751 1,370 447 208 502 4 Deutsche Welle (DW) broadcasts in nine foreign languages; no further distinctions are made in the music and talk genres. 5 The joint station COSMO is taken into account in all participating state-level broadcasters (WDR, RBB, RB). 6 HR 1,131 393 368 Owing to conflicting classification criteria, some music broadcasts are included in talk categories (i.e. ‘Entertainment’ or ‘Culture and education’), and airtime is sometimes broken down into music and spoken word relative to the broadcast or programme concerned. This makes it difficult to compare the percentage of music airtime among broadcasters. It also leads to a discrepancy in amount of BR 581 496 175 746 523 airtime in the overall music (or talk) programme and the total airtime in the music and talk categories. Source: Compiled by the German Music Information Centre from the various annual issues of ARD-Hörfunkstatistik and ARD-Jahrbücher. 0 400 800 1,200 1,600 2,000 0 400 800 1,200 1,600 2,000 0 400 800 1,200 1,600 2,000 in thousands

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MUSIC MARKET RESEARCH FROM RADIO BROADCASTERS given radio station. In the case of AC broadcasters, a playlist rarely has more than 1,000 titles, more likely between 200 and 500. There is a trend toward ever-smaller Unlike public radio broadcasters, private radio broadcasters rely completely on playlists, especially among CHR broadcasters, which often take the ‘top 40’ idea income from advertising. The higher the ratings and the larger the transmission quite literally. range of their programmes, the greater the proceeds to be earned. It thus comes as no surprise that most private radio broadcasters bank on an AC programme and Two test procedures are especially common in market research. The first, call- play current hits as well as super-hits from the last 30 years – a mixture most to outs, being quick and inexpensive to carry out, is used by most radio broadcas- the liking of the relevant target group, listeners from 14 to 49 years old. However, ters and forms the central criterion for planning their music programmes. Every as a 14-year-old will generally not have the same taste as a 49-year-old, it is no easy week, or at least every two weeks, some 50 hooks (striking excerpts from a piece matter to develop music programmes viewed positively and used regularly by a that last roughly eight to 12 seconds and presumably have the highest recogni- maximum number of listeners. Nonetheless, attempts have been made to do just tion value) are played via telephone to 100 to 200 randomly selected people this on the basis of market research, which determines what music is accepted by from the target group in random order. Each title is evaluated by these people which listeners (for this reason it is also called ‘acceptance research’). Along with accord ing to several criteria, usually familiarity (‘Have you heard this piece be- the expertise of radio producers, these research findings are the most important fore?’), pleasure (‘Do you like this piece?’) and saturation (‘Would you like to hear factor in deciding what pieces will be broadcast, i.e. which will enter the so-called this piece more often on your favourite radio programme?’). Saturation, also ‘playlist’.12 The playlist includes all the pieces a broadcaster wishes to integrate known as burnout, is primarily used to determine whether the listeners have in its programme, regardless of whether they are aired frequently (several times a heard a particular title too often. Only in a few exceptional cases are additional day) or rarely (two or three times a year). It represents the musical repertoire of a ques tions posed, e.g. association with a particular broadcaster or preferred time of day when the piece should be played. Callouts are used in particular to test pieces which are played very frequently on radio and thus have a high rotation

Top of thhe charts: thhete title songo g ffrom the TV seeries ‘Babbyloy n level and are more likely to reach saturation. In this way, when certain para- Berrllini ’ was notn onnly ppopular on televisiission, it wasa alsooh heard meters are met, pieces can be included in or excluded from the programme in a a million times on raddio anddt theh internet. timely manner.

In contrast, auditorium tests are more time-consuming and costly, and are there- fore financed by radio broadcasters only once or twice a year. A group of 150 to 300 people is recruited according to particular quotas (usually corresponding to the socio-demographic composition of the broadcaster’s target group) and invited to a hotel, cinema or auditorium. There the guests are played several hundred (or sometimes as many as 1,000) hooks and asked to evaluate them using the three above-mentioned criteria. Auditorium tests are suitable for testing large sections of a playlist, i.e. including those pieces not found in the highest rotation level.

In both test procedures the scores of the three criteria – familiarity, pleasure and saturation – are compressed into an overall score for each piece and transferred

552 553 Music in Broadcasting | Fig. 3 | Ensembles and broadcasting areas of the state broadcasters in the ARD

Source: German Music Information Centre, 2019 to target group-specific ratings or socio- demographic subdivisions. From there it is easy to infer which pieces are liked more, or liked less, by which listeners. The degree to which the findings enter programming policy varies from one

NDR Bigband broadcaster to the next. Both private and NDR Chor NDR Elbphilharmonie Orchester public broadcasters use this type of mar- ket research for their AC and CHR pro- grammes with large transmission areas.

Norddeutscher Rundfunk They also increasingly use data collected Deutsches Symphonie-Orchester Berlin* RIAS Kammerchor* via their own online feedback channels Rundfunk-Sinfonieorchester Berlin* Rundfunkchor Berlin* BERLIN NDR Radiophilharmonie 13 Hannover or home pages. Programming policy makers in cultural broadcasters general- Rundfunk Berlin-Brandenburg ly avoid these standard test procedures and rely mainly on the expertise and ex- ENSEMBLES MDR-Kinderchor perience of their producers. MDR-Rundfunkchor MDR-Sinfonieorchester Orchestra

WDR Sinfonieorchester WDR Big Band Chorus WDR Funkhausorchester WDR Rundfunkchor MUSIC OFFERINGS ON WEB RADIO Köln Big band Youth ensemble Since the mid-1990s a great many mu- a. M. Ensemble with multiple sites sic radio broadcasters and channels have hr-Bigband hr-Sinfonieorchester been added to the internet. The internet Border of state broadcasters in the ARD has obvious advantages as a medi um Saarländischer Rundfunk * The Berlin ensembles belong to Rundfunk Orchester for radio: it offers unlimited space and und Chöre GmbH (roc berlin). The shareholders are Deutschlandradio (40%), the Federal Republic of does not need to struggle with spectrum Germany (35%), the State of Berlin (20%) and Rund- Saarbrücken funk Berlin-Brandenburg (5%). Deutsche Radio Philharmonie Südwestrundfunk scarci ty. An internet radio broadcaster Saarbrücken Kaiserslautern SWR Big Band does not require a large investment or a SWR Vokalensemble SWR Symphonieorchester license, so that programme makers face very low hurdles for entering the market. Chor des BR Moreover, given the low costs, only low Münchner Rundfunkorchester Symphonieorchester des BR München revenues are necessary in order to remain

Cartography: S. Dutzmann profitable. In this light, the providers do National boundary Leipzig, 2019 not need large transmission areas and State boundary 025 5075 100 © German Music Council/ km Urban conglomeration German Music Information Centre can aim at very small target groups with niche and special-interest portfolios. 554 555 Music in Broadcasting |

In Germany, the first broadcasters to go online with their terrestrial radio pro- cast web , and 1,624 are online-only. To this must be added 9,476 user- grammes were Deutsche Welle in 1994 and, one year later, B5 aktuell, the informa- generated radio streams and producer-curated playlists from streaming platforms. tion broadcaster of Bavarian Radio. DSL and flat-rate tariffs have favoured the All in all, users thus have almost 12,000 music pro grammes at their disposal as growth of internet radio in Germany, as their high transmission rates have now led streams.14 The trend is unmistakable: the total number of suppliers or platforms to a sound quality almost equivalent to CD standard, thereby even surpassing the is stagnating, or even declining in the case of classical web ra dios, whereas the qual ity of terrestrial broadcasters. Smartphones, laptops and radios with internet number of offerings and streams running via streaming platforms continues to in- capability have made mobile reception possible anywhere at any time. crease, above all in user-generated and user-curated streams. Consequently the offerings are becoming increasingly specialised, making it possible to address mu- The following types of content have taken hold: sical niches and minuscule target groups. Today’s radio listeners can hear specific music programmes independently of temporal and spatial constraints, and thus 1. Live stream, where the programme is broadcast in a particular time slot and all anywhere at any time, tailored to suit their personal needs. listeners hear the same thing at a given time; 2. On-demand streaming, where a programme can be accessed individually at The figures below also reveal the great diversity of the music. While simulcast any time via streaming and not all listeners hear the same thing at a given web radios are dominated by AC and CHR programmes, online-only web radios time; also place their programmes in areas that are financially unsustainable for clas- 3. Podcasting, where programmes are downloaded via a web feed in the form sical VHF broadcasters and play genres such as dance (267 offerings), pop tunes of audio files and stored on the end device (e.g. a smartphone, iPod or laptop). (Schlager)/folk music (255 offerings), rock (164 offerings), (72 offerings) or black music (42 offerings). In other words, in dance alone the wealth of pro- ‘’ internet radios (online-only web radios) can be distinguished from those grammes is quantitatively equal to that of Germany’s entire nationwide terrestrial whose programme can also be heard one-to-one terrestrially via VHF or DAB VHF radio market on private radio. (simul cast web radios). Aggregators, such as liveradio.de, bundle and structure this large range of internet radios, but do not provide programmes of their own. Music MUSIC ON TELEVISION portals work in much the same way, but are usually more heterogeneous, bundling not only internet radios but all manner of music portfolios. Especially worthy of Ever since Germany’s public television was founded in the 1950s, music broad- mention are streaming services such as Apple Music or Spotify, which addition- casts have been a permanent part of the programme inventory. Cult broadcasts ally offer music programmes assembled and supervised by their own producers. such as ‘Beat Club’ (1965-72), ‘Disco’ (1971-82) and ‘ZDF Hit Parade’ (1969-2000) re- The online-only web radios are increasingly fed in the form of user- generated ra- main unforgotten. This same applies to ‘Formel Eins’ (Formula one, 1983-90), which dio streams. Here individual users can offer their personally selected music pro- already presented music video clips four years before the launch of MTV Europe grammes for downloading by other listeners and build up a veritable fan base. (1987) and ten years before VIVA started in Germany (1993). Equally unforgotten, for many Germans, are the great Saturday evening shows such as ‘Anneliese Rothen- Webradiomonitor (2009- ), an annual study of the internet radio inventory on Ger- berger gibt sich die Ehre’ (Anneliese Rothenberger has the honour, 1971-81), ‘Ein many’s online audio market, commissioned by the Bavarian Regulatory Author ity Kessel Buntes’ (Potpourri, 1972-92), ‘Musik ist Trumpf’ (Music is trumps, 1975-81), for New Media (Bayerische Landeszentrale für neue Medien, or BLM), indicates a ‘’ (Minstrel barn, 1983-2015), ‘ARD Wunschkonzert’ (ARD special total of 2,399 web radio stations for the year 2017, of which 349 are available via request show, 1984-98) and ‘Melodien für Millionen’ (Melodies for millions, 1985- VHF/DAB simulcast web radios, another 429 are subsidiary stations of these simul - 2007). Judging from viewer ratings and follow-up responses, the transmission

556 557 Music in Broadcasting |

The 2018 Schwetzingen Festival: of the ‘ Song Contest’ or the ‘Helene Fischer Show’ on Christmas Day the circular left wing of Schwetzingen Palace (top left); numbers among the television highlights of many Germans every year. Folk music visitors leaving the Church of St Pancras (bottom left); live broadcast of a recital by the SWR Vokalensemble (right) festivals, held several times each year, and weekly casting shows such as ‘The Voice of Germany’ and ‘Deutschland sucht den Superstar’ (Germany’s Got Talent) also continue to enjoy a loyal audience of millions.15

A glance at television offerings which place their main focus on music, and can unquestionably be categorised as music broadcasts, reveals the following types of programmes:

› Concert broadcasts (e.g. operas, festivals, Live Aid) › Music shows, special request concerts (e.g. ‘Musikantenstadl’) The South-western Broad- › Hit parades, chart shows (e.g. ‘ZDF Hit Parade’, ‘The Ultimate Chart Show’) casting Corporation’s › Nostalgia shows (e.g. ‘The 70s/80s/90s Show’) Schwetzingen Festival › Music films (e.g. Amadeus) can be experienced live › Music quizzes (e.g. ‘Erkennen Sie die Melodie’ [Name That Tune]) on location and via a multi- › Music competitions (e.g. ‘’) tude of digital platforms. › Music casting shows (e.g. ‘The Voice of Germany’). SWR and ARTE broadcast the concerts on radio, tele- There are also many programmes in which music, though prominently show- vision and the internet. cased and present during large parts of the broadcast, is not the main focus of the The European Broadcasting show, which is therefore usually classified under ‘entertainment’ rather than ‘mu- Union ensures transmission sic’ in broadcast statistics. This is true, for example, of dance competitions (‘Let’s all over the world. Dance’, ‘Got to Dance’) and other shows and entertainment broadcasts. Definitely ex cluded from the ‘music’ category in the statistics are films, series, game shows, quiz shows, documentaries and advertising spots, even though music functions in sic, the proportion is allegedly only 2.7 per cent. Even so, this constitutes a full 35 per the background during large parts of the broadcast and formatively influences the cent of the total broadcast time devoted to music on Germany’s First Television way the programme is shaped and experienced, thereby contributing to the daily Channel, given that the percentage of the other ARD broadcasters is considerably consumption of music. Today 90 per cent of all advertising spots alone make use lower (see Fig. 4). of music.16 Germany’s Second Television Channel (ZDF) makes no distinction between con- In short, the importance of music in broadcasting is greatly underestimated in certs, music theatre, spoken theatre, and variety shows in its category ‘Con- standard broadcast statistics, where in the case of most public broadcasters it cert and Stage Offerings’ and subsumes many music broadcasts under the heading makes up less than 1 per cent of broadcast time. Even in a purely educational and of ‘entertainment’. As a result, music broadcasts allegedly make up only 0.3 per cultural channel such as ARD alpha, which feels explicitly obligated to include mu- cent of its programme offerings. The cultural channel 3sat at least distinguishes

558 559 Music in Broadcasting |

between music theatre, music shows and concerts, thereby arriving at a broadcast the statistics is the online music programme ARTE Concert (concert.arte.tv), which proportion of 3.4 per cent over all three categories, though the figure has tended to presents more than 900 performances and concerts every year, half of them in decline in recent years. In the case of ARTE, music at least reaches a level of 6.3 per live-stream broadcasts. cent, as we know from a special study of its programme categories Opera, Classical Concerts, Pop Concerts, Maestro, Musica and Performing Arts (concerts, shows, cir- Pure music broadcasters such as MTV, VIVA or Deluxe Music continue to occupy a cus and ballet), carried out for the German Music Information Centre (see Fig. 5). Yet special position. Their programmes consist for the most part of music video clips, here, too, the importance of music is underestimated, for some music broadcasts and thus unquestionably of music broadcasts, and thus make up a sizable pro- are included under the heading of ‘Documentaries’ or ‘Culture’. Like wise missing in portion of the overall music offerings on television. However, their star has been fading for the last ten years. In the 1990s MTV and VIVA still formed the everyday ‘visual radio’ for many young people, and even had an impressive 2.2 to 2.3 per Fig. 4 | Music broadcasts in ARD television channels cent market share among 14- to 29-year-olds in 2006 (shortly before the of the smartphone era). MTV Germany discontinued standard operations in 2011, Percentage of music broadcasts in overall Percentage of music broadcasts in overall music airtime, programme, by broadcaster (2017) by broadcaster (2017) after which it could only be received on pay TV until the end of 2017. Since then the

The First programme has again become accessible on free TV and live stream via its home The First <0.1 17 BR page and the MTV Play App. Recently VIVA, although constantly available on free BR 1.1 <1% TV, had to share its broadcast time on the assigned channels again and again with 13% HR HR 0.2 alternating broadcasters such as and . As a result, it 2% MDR MDR 0.4 35% 5% Total airtime NDR/RB 0.5 for music: 7% NDR/RB 41,081 mins RBB 2% 0.1 RBB 5% Change in percentage of music in ARD TV programmes of Note: The figures listed are based on data collected by the relevant broadcasting corporations as part of the SR/SWR 0.3 SR/SWR The First, Third Channels (total) and ARD-alpha compared to ZDF, 3sat and ARTE3 ARD’s television statistics and published by the German Broadcasting Archive (Deutsches Rundfunkar- WDR 1.8 31% WDR 7% chiv). They refer to broadcast airtime under the heading % ‘Music’. Music may also be found under other headings, ARD-alpha 2.7 3sat such as ‘Entertainment’ or ‘Culture, Science and the ARD-alpha 6% Humanities’. A broadcaster’s classification criteria may 0.0% 0.5% 1.0% 1.5% 2.0% 2.5% 3.0% ARTE change over time and differ from those used by other broadcasters. This makes it difficult to compare the in minutes in per cent of overall programme 5% above percentages as they evolve over time and as they 2006 2008 2010 2012 2014 2016 2017 2006 2008 2010 2012 2014 2016 2017 relate among different broadcasters. 1 The First 625 153 445 576 317 301 208 0.1 <0.1 0.1 0.1 0.1 0.1 <0.1 Beginning in 2012, the Hessian Broadcasting Corpo- 4% ration (HR) dropped its Sunday matinee slot, thereby Third Channels 41,568 37,061 36,133 29,713 25,712 29,446 26,559 1.0 0.9 0.9 0.7 0.6 0.7 0.6 reducing its weekly airtime for music by ca. 90 minutes. 2 BR 6,328 5,602 4,882 3,163 4,346 4,941 5,441 1.3 1.1 1.0 0.6 0.9 1.0 1.1 The digital education channel ARD-alpha is adminis- 3% tered by the Bavarian Broadcasting Corporation (BR). HR1 5,179 4,516 3,751 305 180 232 839 1.0 0.9 0.7 0.1 <0.1 <0.1 0.2 ARD-alpha It emerged from BR-alpha (up to 2013) by expanding MDR 1,555 969 1,452 1,685 1,922 1,749 1,957 0.3 0.2 0.3 0.3 0.3 0.3 0.4 nationwide. 3 2% See Fig. 5 for figures and notes on the percentage of NDR/RB 3,128 3,581 2,682 3,108 3,200 3,231 2,940 0.5 0.6 0.4 0.5 0.5 0.6 0.5 music in ZDF, 3sat and ARTE. No comparable data exists RBB 3,027 1,652 1,150 1,154 1,678 1,360 714 0.6 0.3 0.2 0.2 0.3 0.3 0.1 for ARTE before 2013. SR/SWR 6,229 7,853 9,391 8,494 3,964 3,761 1,928 0.9 1.1 1.3 1.2 0.6 0.5 0.3 1% Third Channels Source: Compiled and calculated by the German Music Information Centre from the various annual issues of ZDF WDR 16,122 12,888 12,825 11,804 10,422 14,172 12,740 2.6 2.0 1.8 1.7 1.5 2.0 1.8 ARD-Fernsehstatistik, ARD-Jahrbücher and ZDF-Jahrbü- 2 The First ARD-alpha ----15,215 14,043 14,314 ----2.92.72.7 0% cher, and a special study by ARTE G.E.I.E. of broadcast time Total 42,193 37,214 36,578 30,289 41,244 43,790 41,081 0.9 0.8 0.8 0.6 0.8 0.8 0.8 2006 2008 2010 2012 2014 2016 2017 slots related to music.

560 561 Music in Broadcasting |

Fig. 5 | Music broadcasts in the programmes of ZDF, 3 sat and ARTE On the other hand, the music offerings on radio and television have proliferated over the last ten years, thanks to digital channels and platforms, and adapted to ac- in minutes in per cent of overall programme commodate increasingly specialised target groups and needs. Today music has, in 2006 2008 2010 2012 2014 2016 2017 06 08 10 12 14 16 17 principle, a worldwide marketplace on which users of smartphones and streaming ZDF main channel Concert and theatre services can hear exactly what they want anywhere at any particular moment. At 2,073 2,226 2,246 1,414 1,688 1,361 1,497 0.4 0.4 0.4 0.3 0.3 0.3 0.3 presentations1 present, greater flexibility and individuality is barely conceivable. Nor is it conceiv- 3sat2 able that people of the future will be content with less. Total music 34,437 29,821 25,744 21,274 21,459 17,521 18,097 6.6 5.7 4.9 4.0 4.1 3.3 3.4 broadcasts Music shows 4,573 4,210 4,230 3,268 2,151 1,202 1,054 0.9 0.8 0.8 0.6 04 0.2 0.2 In short, there is every indication that the mobile streaming world will continue Music theatre 6,044 4,828 5,188 2,506 3,454 2,530 2,509 1.1 0.9 1.0 0.5 0.7 0.5 0.5 to grow massively in importance, especially in those parts of the world currently Concert 23,820 20,783 16,326 15,500 15,854 13,789 14,534 4.5 3.9 3.1 2.9 3.0 2.6 2.8 ARTE3 uninvolved in technological evolution. And if an increasing number of radio mu- Music n/a n/a n/a n/a 22,950 32,372 33,272 n/a n/a n/a n/a 4.4 6.1 6.3 sic programmes, music TV broadcasts and music video clips continue to migrate Music inserts n/a n/a n/a n/a 11,546 18,369 16,945 n/a n/a n/a n/a 6.3 10.0 9.2 ARTE Deutschland to streaming and to find listeners there, as recent developments indicate, it is clear that coming generations will not want to have their everyday lives structured by Note: The figures above refer to airtimes and percentages for programme categories explicitly devoted to music. Music may also be found under other headings not identified with music by the broadcaster concerned, such as ‘Entertainment’ (ZDF) or ‘Documentati- fixed broadcast times from radio and TV providers. They will not be content with on’ and ‘Culture’ (ARTE). 1 The programme category ‘Concert and theatre presentations’ on the ZDF main channel is not broken down any further. It covers not less than having all media offerings, including classical broadcasting programmes, only concerts and music theatre but also spoken theatre, cabaret and music hall. 2 Figures refer to percentage of music in 3sat’s overall programme, which draws on broadcasts from ZDF, ARD, ORF and SRF. available at all times and at all places. Recognising this, Germany’s broadcasters 3 Figures refer to airtime in the broadcasting slots Opera, Classical concerts, Pop concerts, Maestro, Musica and Performing arts have successively adapted themselves over the last ten years to meet these changes. (concerts, shows, circus and ballet) and their percentages in ARTE’s overall programme, which draws on broadcasts from ARTE France and ARTE Deutschland. Inserts from ARTE Deutschland and their percentage in the total broadcasts of ARTE Deutschland are listed separately. Figures do not include the online music programme ARTE Concert, which has presented more than 900 performances and concerts annually since 2009, roughly half of which were streamed live. No comparable figures are available for years up to 2012. Source: Compiled and calculated by the German Music Information Centre from the annual issues of ZDF-Jahrbücher and Media Per- spektiven, Basisdaten: Daten zur Mediensituation in Deutschland, and a special study by ARTE G.E.I.E. of broadcast time slots related to Holger Schramm is professor of media and business communications music. at the Human-Computer-Media Institute of Würzburg University. Among the subjects of his research and teaching are music and the media. ran only 12 hours per day and ceased operations entirely at the end of 2018 after 25 years of broadcasting.

PROSPECTS FOR THE FUTURE 1 See also Holger Schramm et al., Medien und Musik (, 2017), esp. pp. 2 f. Although radio and television have decreased in importance among teen- 2 For an account of the current state broadcasting treaties, including agers and young adults over the last ten years, 80 per cent of all Germans con- the Rundfunkstaatsvertrag, ARD Staatsvertrag, ZDF Staatsvertrag, tinue to use radio and television every day, and thus inevitably hear broadcast Deutschlandradio Staatsvertrag, Rundfunkfinanzierungsstaats- music. These figures derive particularly from the older half of the population, vertrag, Rundfunkbeitragsstaatsvertrag and Jugendmedien- which grew up with analog media in the 1950 to 1980s and has largely retained schutz Staatsvertrag, see Media Perspektiven 1 (2018), online at its media habits. http://www.ard-werbung.de/media-perspektiven/dokumentation %20(accessed%20on%2013%20November%202018. 562 563 Music in Broadcasting |

3 See Bericht über die wirtschaftliche und finanzielle Lage online at http://www.miz.org/downloads/statistik/55/ der Landesrundfunkanstalten (April 2004), p. 45, online at 55_Auslandsanteile_Hoerfunk_2016.pdf (accessed on https://www.landtag-bw.de/files/live/sites/LTBW/files/ 22 November 2018). GEMA does not have any more recent data. dokumente/WP13/Drucksachen/3000/13_3141_D.pdf. 12 See Holger Schramm et al., ‘Wie kommt die Musik ins Radio? 4 The ARD International Music Competition in Munich, held since Stand und Stellenwert der Musikforschung bei deutschen Radio- 1952 and now organised by the Bavarian Broadcasting Corporation, sendern’, Medien & Kommunikationswissenschaft (2002), pp. 227-46. is one of the largest and most prestigious classical music competi- 13 See Holger Schramm and Johannes Knoll, ‘Wandel der Musikpro- tions in the world. It has launched the careers of many artists who grammierung im Radio? Stand und Stellenwert der Musikforschung are world-famous today. In 2018, 257 musicians from 36 countries bei deutschen Radiosendern 2011’, Medien & Kommunikations- on five continents took part in it in the categories of voice, viola, wissenschaft (2012), pp. 561-76. trumpet and piano trio. 14 See Webradiomonitor at https://www.online-audio-monitor.de/ 5 At two-year intervals schoolchildren from all over the country, studie/webradiomonitor-2017. In future the study will be known as beginning with the fifth grade, are invited to compose pieces of Online-Audio-Monitor. their own in music classes, each year inspired by the music of 15 The history of music broadcasts on television is discussed in Irving a different composer (DvoĜák in 2014, Vivaldi in 2016, Handel in 2018, Benoît Wolther: ‘Musikformate im Fernsehen’, in Holger Schramm, Beethoven in 2020). The state-run broadcasting corporations support ed., Handbuch Musik und Medien: Interdisziplinärer Überblick über the project by supplying free teaching materials, video tutorials and die Mediengeschichte der Musik (2nd edn., Wiesbaden, 2018). a special composing software package. The best works are performed 16 For an historical overview of music in advertising see Benedikt in a final concert broadcast on all the cultural channels of Germany’s Spangardt et al., ‘Musik in der Werbung’, in Schramm, Handbuch state-run broadcasters, the Third Television Channels and on live (see note 15). stream video in the Web. 17 On music TV broadcasters see Daniel Klug and Axel Schmidt, 6 See the media authorities’ yearbook of 2016-17, p. 120. ‘Musikfernsehsender’, in Schramm, Handbuch (see note 15). 7 Ibid., p. 136. 8 See Wolfgang Gushurst, Popmusik im Radio: Musik-Programm- gestaltung und Analysen des Tagesprogramms der deutschen Servicewellen 1975–1995 (Baden-Baden, 2000), p. 231. 9 Since 2017 MDR has bundled its classical activities in the brand MDR Klassik with subcategories radio, online and . The brand also includes the ensembles MDR Symphony Orchestra, MDR Leipzig Radio Choir and MDR Leipzig Radio Children’s Choir, as well as the MDR Summer Festival and the label MDR Klassik. 10 Already surveyed by Klaus Goldhammer et al., Musikquoten im europäischen Radiomarkt: Quotenregelungen und ihre kommerziellen Effekte (Munich, 2005). 11 See the presentation by the German Music Information Centre: Auslandsanteile bei Musiksendungen im Hörfunk (Bonn, 2016), 564 565 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

Authors Prof. Dr Hans Bäßler | Prof. Dr Michael Dartsch | Dr Heike Fricke | Stefan Fricke | Barbara Haack | Prof. Christian Höppner | Prof. Dr Arnold Jacobshagen | Hans-Jürgen Linke | Dr Richard Lorber | Prof. Dr Julio Mendívil | Gerald Mertens | Dr Reiner Nägele | Prof. Dr Ortwin Nimczik | Dr Martina Rebmann | Dr Astrid Reimers | Prof. Dr Karl-Heinz Reuband | Dr Tobias Eduard Schick | Prof. Dr Dörte Schmidt | Prof. Dr Holger Schramm | Prof. Dr Wolfgang Seufert | Benedikt Stampa | Prof. Dr Johannes Voit | Prof. Dr Meinrad Walter | Prof. Dr Peter Wicke | Prof. Dr Franz Willnauer

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) | Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | , 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

A publication of the German Music Information Centre

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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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108/109 © Emile Holba 119 © Stefan Gloede | NDR/Foto: Micha Neugebauer | 244/245 © Bayerische Staatsoper/Wilfried Hösl 255 © Gert Weigelt 111 © MDR/Stephan Flad © Bayerische Staatsoper/Wilfried Hösl | 247 © Bayerische Staatsoper/Wilfried Hösl 256/257 © /Barbara Aumüller © Ursula Kaufmann/NTM 112 © Michael Habes | © Jörg Baumann 250 © Bernadette Grimmenstein (top left) | © Hans Jörg 258 © Paul Leclair 113 © Michael Habes 120 © Stefan Gloede Michel (bottom left) | © Stephan Floss (top right) | 260/261 © Monika Rittershaus © Pedro Malinowski/MiR (bottom right) 114 © Siegfried Westphal 124/125 © Netzwerk Junge Ohren/Oliver Röckle 262/263 © Disney/Stage Entertainment 118 © Niklas Marc Heinecke | © Holger Talinski 126 © Koppelstätter Media 251 © Marcus Ebener 266 © Iko Freese/drama-berlin.de 252 © Landestheater Detmold/Maila von Haussen 269 © Hans Jörg Michel/NTM

Ch. 5 | Education for Music Professions Ch. 10 | Concert Halls Page Copyright Page Copyright Page Copyright Page Copyright 130/131 © Thorsten Krienke 145 © (top, middle, bottom left) | 274/275 © Guido Erbring 283 © Markenfotografie | 133 © Sonja Werner Fotografie | © © Thorsten Krienke (bottom right) 276 © Volker Kreidler © David Vasicek/pix123 fotografie frankfurt 134 © Heike Kandalowski 151 © Lutz Sternstein 279 © www.mediaserver.hamburg.de/Maxim Schulz | 285 © Heribert Schindler 156 © Kai Bienert | Pedro Malinowski 139 © Photo Proßwitz (top left) | © Torsten Redler © www.mediaserver.hamburg.de/Michael Zapf | 286 © Köln Musik/Matthias Baus (bottom left) | © Thorsten Dir (right) 157 © Aldo Luud www.mediaserver.hamburg.de/Michael Zapf/ 288 © Jens Gerber, 2016 | 143 © Hochschule/S. Diesner Architekten Herzog & de Meuron | © Konzerthaus Berlin/David von Becker www.mediaserver.hamburg.de/Geheimtipp Hamburg 289 © Christian Gahl | © Daniel Sumesgutner 280 © Wohlrab 293 © Stefan Gloede| © Christina Voigt 281 © VZN/B. Schaeffer Ch. 6 | Amateur Music-Making 296/297 © Naaro 282 © Sebastian Runge | © Frank Vinken | © Gert Mothes Page Copyright Page Copyright

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 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/ 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © /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/ 361 © ICS Festival Service GmbH/Rolf Klatt

617 618 Picture credits |

Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

Page Copyright Page Copyright Page Copyright Page Copyright

376/377 © Jens Schlenker 391 © Nikolai Wolff/Messe (top) | 486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich Schrader 498 © Germanisches Nationalmuseum/ © Jan Rathke/Messe Bremen (middle and bottom right) | 379 © Wilfried Klei | © Jürgen Volkmann 488 © Kulturamt der Stadt Zwickau Foto: Dirk Meßberger © Jens Schlenker/Messe Bremen (bottom left) 380/381 © Elisa Essex 491 © Nationalarchiv der Richard-Wagner-Stiftung, 501 © Atelier Brückner/Michael Jungblut 392 © WDR/Kaiser | © WDR/Voigtländer 386 © Deutscher Musikrat/Thomas Kölsch | © Investitions- und Marketinggesellschaft Sachsen-An- 502 Foto: Frank Schürmann © Rock 'n' Popmuseum 395 © Jan Rathke/Messe Bremen 388/389 © Peter Tümmers halt mbH | © SCHAU! Multimedia | 505 © Uwe Köhn © Beethoven-Haus Bonn 506 © Bach-Museum Leipzig/Jens Volz 494 © SIMPK/Anne-Katrin Breitenborn 507 © André Nestler 495 © Musikinstrumentenmuseum der Universität Leipzig/ 508 © Aloys Kiefer | © Ulrich Perrey Ch. 15 | World Music Foto: Marion Wenzel Page Copyright Page Copyright

400/401 © Oliver Jentsch 408 © D. Joosten | © Frank Diehn 402 © Andy Spyra 409 © S. Hauptmann (top and bottom right) | Ch. 20 | Preferences and Publics © Matthias Kimpel (middle and bottom left) 405 © Silverangel Photography Page Copyright Page Copyright 410 © Daniela Incoronato 510/511 © Konzerthaus Berlin/David von Becker 521 © NDR/Foto: Micha Neugebauer 513 © Stefan Gloede 524 © Jonathan Braasch Ch. 16 | Music in Church 514 © Semperoper /Matthias Creutziger (top left) | 525 © Lutz Edelhoff Page Copyright Page Copyright © Martin Sigmund (bottom left)| © Niklas Marc 526 © NDR/Alex Spiering Heinecke (top right) | © Leo Seidel (bottom right) 529 KunstFestSpiele Herrenhausen, 414/415 © Beatrice Tomasetti 423 © Michael Vogl 515 © Bayerische Staatsoper/Felix Loechner Foto: Helge Krückeberg, 2018 416 © MBM/Mathias Marx 424 © Eugène Bornhofen 518 © Landestheater Detmold/Kerstin Schomburg | 530 © Saad Hamza 419 © Antoine Taveneaux/CC BY-SA 3.0 (top left) | 427 gemeinfrei | © Gottfried-Silbermann-Gesellschaft | Landestheater Detmold/A. T. Schäfer © Deutsches orthodoxes Dreifaltigkeitskloster © Michael Zapf | © Martin Doering (bottom left) | © Beatrice Tomasetti (top right) | 431 © Cornelius Bierer © Tobias Barniske (bottom right) 434 © Gert Mothes 420/421 © Hartmut Hientzsch 440/441 © Stefan Korte Ch. 21 | Music in Broadcasting 422 © Matthias Knoch Page Copyright Page Copyright

536/537 © Schwetzinger SWR Festspiele/Elmar Witt 546 © SAT.1/ProSieben/André Kowalksi Ch. 17 | Musicology 539 © WDR/Thomas Kost | © WDR/Ines Kaiser 549 © WDR/Herby Sachs 540/541 © Claus Langer/WDR 552 © ARD Degeto/X-Filme/Beta Film/ Page Copyright Page Copyright 542 © MDR/Marco Prosch /Frédéric Batier 559 © Schwetzinger SWR Festspiele/Elmar Witt 444/445 © HfM /Foto: Guido Werner 453 © Beethoven-Haus Bonn 545 © NDR/Micha Neugebauer 446 © Roman Wack 454 © Beethoven-Haus Bonn 448 © Staatstheater Nürnberg/Ludwig Olah 457 © Musikinstrumentenmuseum der Universität Leipzig, 449 © fimt/Sebastian Krauß (left) | Johannes Köppl Ch. 22 | Music Economy © Museen der Stadt Nürnberg, Dokumentations- 461 © HfM Weimar/Foto: Daniel Eckenfelder | zentrum Reichsparteitagsgelände (top right) | © HfM Weimar/Foto: Maik Schuck | Page Copyright Page Copyright © fimt/Abgabe Rüssel1 (bottom right) © HfM Weimar/Foto: Guido Werner | 450 © Ethnologisches Museum, Staatliche Museen © HfM Weimar/Foto: Alexander Burzik 566/567 © Timm Ziegenthaler 585 © WDR/Ines Kaiser zu Berlin/Foto: Martin Franken | 568 © Verlag Der Tagesspiegel 586 © Alciro Theodoro da Silva | © Ethnologisches Museum, Staatliche Museen 571 © Messe Frankfurt/Petra Weizel © Bärenreiter/Foto: Paavo Blåfield zu Berlin/Foto: Dietrich Graf 576 © Schott Music 589 © Musikalienhandlung M. Oelsner Leipzig 580 © BuschFunk 592/593 © C. Bechstein Pianoforte AG/Fotos: Deniz Saylan 582 Melt Festival © Stephan Flad 594/595 © Bach by Bike Ch. 18 | Information and Documentation

Page Copyright Page Copyright The German Music Council 464/465 © Stadtbibliothek Stuttgart/yi architects, 474 © Andreas Klingenberg/HfM Detmold Foto: martinlorenz.net 476 © Zentrum für populäre Kultur und Musik/ Page Copyright Page Copyright 467 © Eva Jünger/Münchner Stadtbibliothek Michael Fischer | © Zentrum für populäre Kultur 600/601 © DMR/Alfred Michel 610 © Heike Fischer | 468 © Falk von Traubenberg und Musik/Patrick Seeger 603 © Andreas Schoelzel © Marko Djokovic/ Philharmonic 469 © Claudia Monien | Foto: Costello Pilsner 477 © Zentrum für populäre Kultur und Musik/ 611 © Sascha Stiehler © Zentral- und Landesbibliothek Berlin Michael Fischer 604 © Erich Malter 612 © Knoch/Siegel 473 © Staatsbibliothek zu Berlin – PK, C. Seifert 480/481 © BSB/H.-R. Schulz 609 © Thomas Imo/photothek.net | © German Embassy New Delhi | © Maksym Horlay | © BJO/Meier

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