The Concept of 'Radio Music'

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

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

Harvard

Fjeldsøe, M 2016, 'The Concept of 'Radio Music'', Danish Yearbook of Musicology, vol. 40, pp. 69-78.

APA

Fjeldsøe, M. (2016). The Concept of 'Radio Music'. Danish Yearbook of Musicology, 40, 69-78.

Vancouver

Fjeldsøe M. The Concept of 'Radio Music'. Danish Yearbook of Musicology. 2016;40:69-78.

Author

Fjeldsøe, Michael. / The Concept of 'Radio Music'. In: Danish Yearbook of Musicology. 2016 ; Vol. 40. pp. 69-78.

Bibtex

@article{a210406cd94c46789e454418f2454713,
title = "The Concept of 'Radio Music'",
abstract = "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 {\textquoteleft}radio music theatre{\textquoteright}, but then changed some of its features in order to turn it into a didactical play for amateurs, a so-called Lehrst{\"u}ck. The article will present the concept of {\textquoteleft}radio music{\textquoteright} developed within German Neue Sachlichkeit and discuss the relevance of such a concept for current research in the field of radio and music.",
keywords = "Faculty of Humanities, Music History, Radio music, 1920erne, 1930erne, 1920s, 1930s, Neue Sachlichkeit",
author = "Michael Fjelds{\o}e",
year = "2016",
language = "English",
volume = "40",
pages = "69--78",
journal = "Danish Yearbook of Musicology",
issn = "1604-9896",
publisher = "Dansk Selskab for Musikforskning",

}

RIS

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