A history of flops and a new turn: The Turkish-German music interplay
To gain a more comprehensive understanding of the Turkish-German music interplay the article outlines a history of the reception of Turkish music in Germany. What remained the story of a rather unsuccessful effort to connect Turkish-speaking and German-speaking people in the period from the 1960s to...
Zapisane w:
| Wydane w: | URI:https://journals.openedition.org/transposition, |
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| Główni autorzy: | , |
| Format: | Article ou chapitre numérique |
| Język: | Anglais |
| Wydane: |
Transposition
2022
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| Hasła przedmiotowe: | |
| Dostęp online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:transposition_7038 |
|---|---|
| record_format |
openedition |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
Turkish pop music; Anadolu pop; Arabesk; cultural transfer; German-Turkish community; music market musical structures and media in Germany; German and Turkish pop music historiography |
| spellingShingle |
Turkish pop music; Anadolu pop; Arabesk; cultural transfer; German-Turkish community; music market musical structures and media in Germany; German and Turkish pop music historiography Lund, Cornelia Lund, Holger A history of flops and a new turn: The Turkish-German music interplay |
| description |
To gain a more comprehensive understanding of the Turkish-German music interplay the article outlines a history of the reception of Turkish music in Germany. What remained the story of a rather unsuccessful effort to connect Turkish-speaking and German-speaking people in the period from the 1960s to the 1980s, has changed with German-Turkish hip-hop since the 1990s and more significantly over the last few years with (neo-)Anatolian pop – with vocals in Turkish – now being well received in Germany and internationally.In a first step, the article examines why the earlier attempts to establish a Turkish-German music interplay flopped, how the cultural framework of reception and distribution of music was built in Germany for both audiences, and which social, cultural and musical conflicts were in play. To this effect, the main focus is set on a special case of interplay serving as an example: Musicians singing Turkish pop music in German and musicians singing German pop music in Turkish.After decades of flops in Turkish-German music interplay and after decades of German-Turkish hip-hop it now works even the more complicated way, that is with vocals in Turkish and Turkish elements in the musical structure and instrumentation. The latter have been an obstacle for gaining non-Turkish people’s musical appreciation in Germany for a long time. But what has been an obstacle now turns out to be an asset, as for the first time a considerable non-Turkish speaking audience in Germany is enjoying (neo-)Anatolian pop. This leads to the second step of the analysis, which will address the question of how this could happen by investigating the elements that induced this change.The analysis of the described topic will draw on Popular Music Studies, decolonial discussions as well as a comparative perspective. The latter is focused on (non-)transfer, (non-)exchange and (non-)interplay to enlighten inter-ethnic and inter-cultural issues of connection or separation. |
| author |
Lund, Cornelia Lund, Holger |
| author_facet |
Lund, Cornelia Lund, Holger |
| author_sort |
Lund, Cornelia |
| title |
A history of flops and a new turn: The Turkish-German music interplay |
| title_short |
A history of flops and a new turn: The Turkish-German music interplay |
| title_full |
A history of flops and a new turn: The Turkish-German music interplay |
| title_fullStr |
A history of flops and a new turn: The Turkish-German music interplay |
| title_full_unstemmed |
A history of flops and a new turn: The Turkish-German music interplay |
| title_sort |
history of flops and a new turn: the turkish-german music interplay |
| publisher |
Transposition |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.7038 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/7038 |
| _version_ |
1877293135723233280 |
| spelling |
openedition-oai:revues.org:transposition_7038 https://doi.org/10.4000/transposition.7038 urn:doi:10.4000/transposition.7038 en https://journals.openedition.org/transposition/7038 2022-06-30T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmdo https://creativecommons.org/licenses/by-sa/4.0/ A history of flops and a new turn: The Turkish-German music interplay Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Lund, Cornelia Lund, Holger Turkish pop music; Anadolu pop; Arabesk; cultural transfer; German-Turkish community; music market musical structures and media in Germany; German and Turkish pop music historiography To gain a more comprehensive understanding of the Turkish-German music interplay the article outlines a history of the reception of Turkish music in Germany. What remained the story of a rather unsuccessful effort to connect Turkish-speaking and German-speaking people in the period from the 1960s to the 1980s, has changed with German-Turkish hip-hop since the 1990s and more significantly over the last few years with (neo-)Anatolian pop – with vocals in Turkish – now being well received in Germany and internationally.In a first step, the article examines why the earlier attempts to establish a Turkish-German music interplay flopped, how the cultural framework of reception and distribution of music was built in Germany for both audiences, and which social, cultural and musical conflicts were in play. To this effect, the main focus is set on a special case of interplay serving as an example: Musicians singing Turkish pop music in German and musicians singing German pop music in Turkish.After decades of flops in Turkish-German music interplay and after decades of German-Turkish hip-hop it now works even the more complicated way, that is with vocals in Turkish and Turkish elements in the musical structure and instrumentation. The latter have been an obstacle for gaining non-Turkish people’s musical appreciation in Germany for a long time. But what has been an obstacle now turns out to be an asset, as for the first time a considerable non-Turkish speaking audience in Germany is enjoying (neo-)Anatolian pop. This leads to the second step of the analysis, which will address the question of how this could happen by investigating the elements that induced this change.The analysis of the described topic will draw on Popular Music Studies, decolonial discussions as well as a comparative perspective. The latter is focused on (non-)transfer, (non-)exchange and (non-)interplay to enlighten inter-ethnic and inter-cultural issues of connection or separation. Dans l’histoire de la réception de la musique turque en Allemagne, les années 1960 à 1980 sont celles d’un effort infructueux pour établir le dialogue entre turcophones et germanophones. La situation a cependant évolué dans les années 1990, avec l’émergence du hip-hop germano-turc, et plus significativement ces dernières années avec la pop (néo-)anatolienne – chantée en turc –, aujourd’hui bien reçue en Allemagne et dans le monde. En premier lieu, cet article examine les raisons de l’échec des premières tentatives d’établir un dialogue musical turco-allemand. En prenant pour exemple le cas des musiciens qui chantent de la musique pop turque en allemand et des musiciens qui chantent de la musique pop allemande en turc, nous analysons comment le cadre culturel de la réception et de la distribution de la musique a été construit en Allemagne pour les deux publics séparément, et quels conflits sociaux, culturels et musicaux étaient alors en jeu. Paradoxalement, c’est un hip-hop chanté en turc et comprenant des idiomes musicaux turcs qui rencontre aujourd’hui du succès, après des décennies de flops dans le dialogue musical germano-turc et des décennies de hip-hop germano-turc. Longtemps considérée comme un obstacle à la réception de la musique par les non-Turcs en Allemagne, la présence de ces idiomes s’avère aujourd’hui être un atout, car pour la première fois un public allemand non turcophone apprécie la pop (néo-)anatolienne. Pour comprendre comment s’est produit ce changement, cet article analyse des conditions expliquant le (non-)transfert, le (non-)échange et le (non-)dialogue dans les questions interethniques et interculturelles de connexion ou de séparation, en s’appuyant, dans une perspective comparative, sur les Popular Music Studies et les théories décoloniales. |