The Concept of 'Radio Music'
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The Concept of 'Radio Music'. / Fjeldsøe, Michael.
In: Danish Yearbook of Musicology, Vol. 40, 2016, p. 69-78.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - The Concept of 'Radio Music'
AU - Fjeldsøe, Michael
PY - 2016
Y1 - 2016
N2 - In the late 1920s, young composers and musicians turned towards new fields of activity and new media in order to reach a larger audience. In Germany, this effort was part of the movement of Neue Sachlichkeit, and for a short period of time, Radiomusik was considered the ideal means for a democratic, educational and didactic effort which would enlighten all of society. For a while it seemed that radio music was considered a genre of its own. To fulfil its function, radio music had to consider technical limitations as well as the educational level and listening modes of the new mass audience. Public radio, as discussed by Kurt Weill and Paul Hindemith, was at first greeted with great expectations, but soon a more realistic attitude prevailed. Weill, himself a radio critic as well, composed Der Lindberghflug (1929) as a piece of ‘radio music theatre’, but then changed some of its features in order to turn it into a didactical play for amateurs, a so-called Lehrstück. The article will present the concept of ‘radio music’ developed within German Neue Sachlichkeit and discuss the relevance of such a concept for current research in the field of radio and music.
AB - In the late 1920s, young composers and musicians turned towards new fields of activity and new media in order to reach a larger audience. In Germany, this effort was part of the movement of Neue Sachlichkeit, and for a short period of time, Radiomusik was considered the ideal means for a democratic, educational and didactic effort which would enlighten all of society. For a while it seemed that radio music was considered a genre of its own. To fulfil its function, radio music had to consider technical limitations as well as the educational level and listening modes of the new mass audience. Public radio, as discussed by Kurt Weill and Paul Hindemith, was at first greeted with great expectations, but soon a more realistic attitude prevailed. Weill, himself a radio critic as well, composed Der Lindberghflug (1929) as a piece of ‘radio music theatre’, but then changed some of its features in order to turn it into a didactical play for amateurs, a so-called Lehrstück. The article will present the concept of ‘radio music’ developed within German Neue Sachlichkeit and discuss the relevance of such a concept for current research in the field of radio and music.
KW - Faculty of Humanities
KW - Music History
KW - Radio music
KW - 1920erne
KW - 1930erne
KW - 1920s
KW - 1930s
KW - Neue Sachlichkeit
M3 - Journal article
VL - 40
SP - 69
EP - 78
JO - Danish Yearbook of Musicology
JF - Danish Yearbook of Musicology
SN - 1604-9896
ER -
ID: 172435693