https://gfpm-samples.de/index.php/samples/issue/feed SAMPLES 2022-10-21T13:58:27+00:00 Eva Krisper eva-maria.krisper@student.kug.ac.at Open Journal Systems <p><strong>SAMPLES</strong> ist das Open-Access-Journal der Gesellschaft für Popularmusikforschung e.V. (GfPM). Das Lesen und Veröffentlichen sind kostenlos und frei von Werbeanzeigen.</p> <p>Bei <strong>SAMPLES </strong>steht im Vordergrund, die Bandbreite der Popularmusikforschung in deutschen und englischen Texten abzubilden. Das Journal wird aktuell von Katharina Alexi, Eva Krisper und Eva Schuck herausgegeben.</p> <p>Seit mittlerweile 20 Jahren veröffentlichen wir bei <strong>SAMPLES</strong> wissenschaftliche Aufsätze, inzwischen im anonymisierten Peer-Review-Verfahren. Außerdem erscheinen jährlich Rezensionen zu aktuellen Veröffentlichungen sowie der jeweils mit dem Early Career Best Paper Award ausgezeichnete Text. Dazu bieten wir eine Übersicht mit (inter)nationalen Neuerscheinungen zur Popularmusikforschung.</p> https://gfpm-samples.de/index.php/samples/article/view/280 Robert Wilsmore & Christopher Johnson (Hg.) (2022). »Coproduction on Music Production« 2022-10-20T23:25:37+00:00 Alan van Keeken alan.van-keeken@musikwiss.uni-halle.de <p>Alan van Keeken – Rezension zu Robert Wilsmore &amp; Christopher Johnson (Hg.) (2022). »Coproduction on Music Production«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/283 Sookee & Gazal (Hg.) (2021). »Awesome HipHop Humans« UND Beate Flath, Ina Heinrich, Christoph Jacke, Heinrich Klingmann & Maryam Momen Pour Tafreshi (Hg.) (2022). »Druckwellen« 2022-10-20T23:37:27+00:00 Magdalena Fürnkranz fuernkranz@mdw.ac.at <p>Magdalena Fürnkranz – Doppelrezension zu Sookee &amp; Gazal (Hg.) (2021). »Awesome HipHop Humans. Queer*Fem*Rap im deutschsprachigen Raum« UND Beate Flath, Ina Heinrich, Christoph Jacke, Heinrich Klingmann &amp; Maryam Momen Pour Tafreshi (Hg.) (2022). »Druckwellen. Eskalationskulturen und Kultureskalatio­nen in Pop, Gesellschaft und Politik«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/278 Magdalena Fürnkranz & Harald Huber (2021). »Aufführungsrituale der Musik. Zur Konstitutierung kultureller Vielfalt am Beispiel Österreich« 2022-10-20T22:46:51+00:00 Martina Schuegraf katharina.alexi@llaudioll.de <p>Martina Schuegraf – Rezension zu Magdalena Fürnkranz &amp; Harald Huber (2021). »Aufführungsrituale der Musik. Zur Konstitutierung kultureller Vielfalt am Beispiel Österreich«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/279 Sabine Mecking, Yvonne Wasserloos, Manuela Schwartz & Stefan Manz (Hg.) (2021). »Rechtsextremismus – Musik und Medien« 2022-10-20T23:20:51+00:00 Martha Ziegler marthaziegler@gmx.de <p>Martha Ziegler – Rezension zu Sabine Mecking, Yvonne Wasserloos, Manuela Schwartz &amp; Stefan Manz (Hg.) (2021). »Rechtsextremismus – Musik und Medien«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/281 Malte Pelleter (2020). »›Futurhythmaschinen‹. Drum Machines und die Zukünfte auditiver Kulturen« 2022-10-20T23:29:59+00:00 Robert Michler robert.michler@bfh.ch <p>Robert Michler – Rezension zu Malte Pelleter (2020). »›Futurhythmaschinen‹. Drum Machines und die Zukünfte auditiver Kulturen«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/282 Melanie Schiller (2020). »Soundtracking Germany. Popular Music and National Identity« 2022-10-20T23:34:14+00:00 Peter Klose kontakt@popularmusikforschung.de <p>Peter Klose – Rezension zu Melanie Schiller (2020). »Soundtracking Germany. Popular Music and National Identity«</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/285 Ausgewählte Neuerscheinungen 2021 2022-10-20T23:56:09+00:00 Philipp Schmickl p.schmickl@kug.ac.at <p>Ausgewählte Neuerscheinungen 2021 – Zusammengestellt von Philipp Schmickl</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/286 Orpheus in New Orleans. Hadestown (2019) im Licht eines amerikanischen Mythos und gegenwärtiger Sozial- und Umweltkatastrophen 2022-10-21T00:00:57+00:00 Simon Hensel hello@svenjareiner.de <p><em>Hadestown </em>is a musical by Anaïs Mitchell, a retelling of Ovid's Orpheus myth where the characters keep their mythological names. It is significant that their detailed characterizations and the worldbuilding of <em>Hadestown </em>separate from earlier adaptations. This article analyzes how <em>Hadestown'</em>s worldbuilding establishes a connection with the city of New Orleans which is essential to the show's central themes and musical diversity.<br>By embedding references to the music and history of the US in ancient Greek mythology, the musical draws attention to various social issues. <em>Hadestown'</em>s integration of various musical traditions into its songs emphasizes the city's integral role in the history of jazz and American music. This aesthetical design also highlights the way these traditions are historically intertwined. In this regard, <em>Hadestown </em>counteracts the racialization of American music – a problem present in American societies since the early 20th century (Miller 2010: 187-240).<br>In addition to musical and lyrical references to African American musical traditions, the evocation of New Orleans as jazz’s mythical place of origin makes it particularly impossible to ignore America's history of racism. In this case, the term ›myth(ical)‹ refers to idealized narratives of the formation of ›New Orleans Jazz‹. Thus, this article investigates how <em>Hadestown'</em>s allusions to New Orleans exhibit how the city can be regarded as a microcosm of the social issues of the US to this day, especially in the light of its correlation between race and class.</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/284 Editorial und Interview der aktuellen und ehemaligen Herausgeber*innen 2022-10-20T23:50:30+00:00 Katharina Alexi katharina.alexi@llaudioll.de Eva Krisper eva-maria.krisper@student.kug.ac.at Eva Schuck eva.schuck@leuphana.de <p>Editorial und Interview der aktuellen und ehemaligen Herausgeber*innen</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/287 #GenderMachtPop. Machtverhältnisse und Geschlecht in der populären Musik 2022-10-21T13:10:44+00:00 Monika Schoop monika.schoop@leuphana.de Melanie Ptatscheck Melanie.Ptatscheck@hfmt-koeln.de <p>This article traces the manifold gendered power relations in the field of popular music. Based on a literature review and the authors' own experiences and research, four main topics are addressed: (1) gender and working conditions in the music industry, (2) musical socialization and education, (3) music historiography, and (4) mental health and sexualized violence. The article invites critical questioning of existing power structures and aims to lay a foundation for the discussion of intervention strategies.</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/288 When Love and Critique Collide. Methodology, Ontology, Fandom and Standpoint in Metal Music 2022-10-21T13:18:43+00:00 Rosemary L. Hill R.L.Hill@hud.ac.uk <p>Metal studies is now into its teenage years. It has been shaped by different fields of academic study, different ideas of how research should be done, varying ideas about the kinds of questions we should be asking and even, and importantly, varying ideas of what metal <em>is</em> and what counts as metal. In this article, I open up discussion about methodology and ontology in metal studies. This is a vital discussion because it goes to the heart of what we can say about metal. My aim is to prick the consciences of metal scholars in order to inspire closer examination of our standpoints as researchers. I argue that as metal scholars we are often researching the music that we love, and this can mean that we take a defensive position. Because of this, we need to be especially attentive to how our fan positions may blind us to discussing difficult aspects of our culture such as vicious misogyny and banal nationalism.</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/290 Dicke Luft in Gelsenkirchen. Wie Georg Kreisler mit Spott über den Pott Empörung auslöste ... 2022-10-21T13:37:42+00:00 Christoph Müller-Oberhäuser c.mueller-oberhaeuser@udk-berlin.de <p>This article deals with the chanson »Gelsenkirchen«, written by Jewish satirist Georg Kreisler (1922-2011) who would have celebrated his 100<sup>th</sup> birthday this year. When in 1961 a version of this chanson, sung by Kreisler and his then wife, the artist Topsy Küppers, was broadcast on the NDR radio evening programme, it gave rise to protest in Gelsenkirchen. The city council in particular took offence at the satirical depiction of the life in their city and sent a note of protest to the radio station in Hamburg as well as to the press. Drawing on local newspaper reports, archive material and recordings, I argue that the reasons for this extraordinary reaction to this piece of music result from the following criteria: Satirising Gelsenkirchen's cultural achievements after World War II, Kreisler's song was in strong contrast to the image of the city the council intended to preserve. In addition, it was written by a cosmopolitan intellectual who had never visited this working-class city. Nevertheless, Gelsenkirchen's harsh reaction caused publicity and contributed to »Gelsenkirchen« becoming one of Kreisler's most famous <em>Everblacks</em>.</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES https://gfpm-samples.de/index.php/samples/article/view/289 Rockmusik in der Diskothek. Empirisch informierte Musikanalyse als Zugang zu Musik-Erleben und musikalischer Gestaltung 2022-10-21T13:27:58+00:00 Holger Schwetter schwetter@uni-kassel.de <p>This article aims to show to what extent empirical research can contribute to popular music analysis and how it can profit from music analysis in return. The combination of methods allows a more specific reconstruction of past music experiences, according to my thesis. Therefore, the social embedding of aesthetic experience as well as the significance of specific musical design features in music reception become apparent. The hints thus gained on relevant means of musical design provide empirically founded insights into the formative principles of the respective aesthetic gestalt in a specific musical culture. Following a theoretical framing, this approach is demonstrated in the case study of a specific listening setting: the rock discotheque of the 1970s in West Germany.<br>This paper showcases results from the research project <em>Time has come today, </em>which aimed to gain insights into the relationship between popular music and social change in the 1970s. The article is primarily concerned with the consequences and potentials for the development of empirical approaches to music analysis, which were developed as part of the research project. Those approaches can help to identify the dimensions of design that are particularly important for a specific musical artifact in a specific listening setting such as the rock discotheque. Furthermore, they help to avoid fundamental problems of music analysis such as the selection of pieces.</p> 2022-10-21T00:00:00+00:00 Copyright (c) 2022 SAMPLES