Chapter 4 Kruder and Dorfmeister
When Cruise , the film whose dialogue I used as an epigraph for this chapter, was released in 1970, these words were seen as capturing Polish inability to move beyond the safe zone of a well-known repertoire of images, melodies and symbols. Austrians allegedly are also stuck in the past (see Chap...
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| Formato: | Online |
| Lenguaje: | inglés |
| Publicado: |
Taylor & Francis
2021
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| Acceso en línea: | 1001564 |
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| _version_ | 1869527678059544576 |
|---|---|
| author | Mazierska, Ewa |
| author_browse | Mazierska, Ewa |
| author_facet | Mazierska, Ewa |
| author_sort | Mazierska, Ewa |
| collection | Directory of Open Access Books |
| description | When Cruise , the film whose dialogue I used as an epigraph for this chapter, was
released in 1970, these words were seen as capturing Polish inability to move
beyond the safe zone of a well-known repertoire of images, melodies and symbols.
Austrians allegedly are also stuck in the past (see Chapter 1 ). This would
explain Kruder and Dorfmeister’s penchant for making capital from our pleasure
of listening to melodies we already know, if not for the fact that they gained fame
not from capitalising on Vienna’s music history but remixing songs coming from
the Anglo-American centre of popular music, such as those by Depeche Mode,
Madonna and David Holmes. Theirs is thus an interesting case of colonisation,
which includes self-colonisation and reverse colonisation: taking something from
the centre, reworking it and returning to the centre an improved version. Depending
on the perspective, their productions can be seen as proof of the hegemony of
the centre or a sign that the periphery can not only resist the centre’s power but
also penetrate it on its own terms. Equally, they can be seen as a sign of the end of
authenticity and originality in popular music (and art at large) in the postmodern
era or a need to rework these concepts to fit the art of creative recycling. |
| format | Online |
| id | doab-20.500.12854ir-29682 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| publisher | Taylor & Francis |
| publisherStr | Taylor & Francis |
| record_format | ojs |
| spelling | doab-20.500.12854ir-296822025-07-21T15:57:37Z Chapter 4 Kruder and Dorfmeister Mazierska, Ewa Electronica Music Austria Vienna History Criticism Popular music Social aspects Electronica Music Austria Vienna History Criticism Popular music Social aspects Brian Eno Disc jockey Kruder & Dorfmeister Simon & Garfunkel thema EDItEUR::A The Arts thema EDItEUR::A The Arts When Cruise , the film whose dialogue I used as an epigraph for this chapter, was released in 1970, these words were seen as capturing Polish inability to move beyond the safe zone of a well-known repertoire of images, melodies and symbols. Austrians allegedly are also stuck in the past (see Chapter 1 ). This would explain Kruder and Dorfmeister’s penchant for making capital from our pleasure of listening to melodies we already know, if not for the fact that they gained fame not from capitalising on Vienna’s music history but remixing songs coming from the Anglo-American centre of popular music, such as those by Depeche Mode, Madonna and David Holmes. Theirs is thus an interesting case of colonisation, which includes self-colonisation and reverse colonisation: taking something from the centre, reworking it and returning to the centre an improved version. Depending on the perspective, their productions can be seen as proof of the hegemony of the centre or a sign that the periphery can not only resist the centre’s power but also penetrate it on its own terms. Equally, they can be seen as a sign of the end of authenticity and originality in popular music (and art at large) in the postmodern era or a need to rework these concepts to fit the art of creative recycling. 2021-02-10T12:58:18Z 2019-10-17 14:48:54 2020-04-01T12:22:15Z 2018-09-28 23:55 2019-10-17 14:48:54 2020-04-01T12:22:15Z 2018 chapter 1001564 OCN: 1076755083 http://library.oapen.org/handle/20.500.12657/28398 9781315230627 https://directory.doabooks.org/handle/20.500.12854/29682 eng open access image/jpeg image/jpeg image/jpeg image/jpeg n/a n/a n/a n/a https://library.oapen.org/bitstream/20.500.12657/28398/1/9781138713918_oachapter4.pdf https://library.oapen.org/bitstream/20.500.12657/28398/1/9781138713918_oachapter4.pdf https://library.oapen.org/bitstream/20.500.12657/28398/1/9781138713918_oachapter4.pdf https://library.oapen.org/bitstream/20.500.12657/28398/1/9781138713918_oachapter4.pdf Taylor & Francis Routledge fa69b019-f4ee-4979-8d42-c6b6c476b5f0 Popular Viennese Electronic Music, 1990–2015 9781315230627 Routledge 20 open access |
| spellingShingle | Electronica Music Austria Vienna History Criticism Popular music Social aspects Electronica Music Austria Vienna History Criticism Popular music Social aspects Brian Eno Disc jockey Kruder & Dorfmeister Simon & Garfunkel thema EDItEUR::A The Arts thema EDItEUR::A The Arts Mazierska, Ewa Chapter 4 Kruder and Dorfmeister |
| title | Chapter 4 Kruder and Dorfmeister |
| title_full | Chapter 4 Kruder and Dorfmeister |
| title_fullStr | Chapter 4 Kruder and Dorfmeister |
| title_full_unstemmed | Chapter 4 Kruder and Dorfmeister |
| title_short | Chapter 4 Kruder and Dorfmeister |
| title_sort | chapter 4 kruder and dorfmeister |
| topic | Electronica Music Austria Vienna History Criticism Popular music Social aspects Electronica Music Austria Vienna History Criticism Popular music Social aspects Brian Eno Disc jockey Kruder & Dorfmeister Simon & Garfunkel thema EDItEUR::A The Arts thema EDItEUR::A The Arts |
| topic_facet | Electronica Music Austria Vienna History Criticism Popular music Social aspects Electronica Music Austria Vienna History Criticism Popular music Social aspects Brian Eno Disc jockey Kruder & Dorfmeister Simon & Garfunkel thema EDItEUR::A The Arts thema EDItEUR::A The Arts |
| url | 1001564 |
| work_keys_str_mv | AT mazierskaewa chapter4kruderanddorfmeister |