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School of Rock: The Classic Illustrated Storybook (Pop Classics #10)
by Kim SmithFor those about to read . . . we salute you! The zany and much-beloved comedy-musical film about pint-sized rockers sticking it to the man is now an adorable picture book! It&’s just another ordinary day at Horace Green Prep School, and the students think they&’re getting just another ordinary substitute teacher. Instead, Dewey Finn, a washed-up musician with dreams of greatness, whisks them away on a totally rocking adventure. After Dewey hears the kids practicing in music class, he discovers how talented they are and realizes he has another chance at his greatest dream: winning the Battle of the Bands. But when the parents discover what Dewey has been teaching their kids, will the School of Rock even be able to compete?With all the iconic moments and laugh-out-loud lines from the film included, the book's charm and spirit shines on every page. This delightful story of a diverse and passionate group of children coming into their own is a must-have for fans of the film, parents of musical kids, and anyone who&’s ever stuck it to the man!
Schubert Studies: A New Perspective (Symphonic Studies #Volume 1)
by Brian NewbouldSchubert Studies comprises eleven essays by renowned Schubert scholars and performers. The volume sheds light on certain aspects of Schubert‘s music and biography which have hitherto remained relatively neglected, or which warrant further investigation. Musical topics include analyses of tempo conventions, transitional procedures and rhythmic organization. There are reassessments of several works, using autograph research, performing experience and other approaches; while assumptions as to the extent of Schubert‘s influence on later Czech composers are also brought into question. Concerns with aspects of Schubert‘s biography, in particular the social and musical circles in which he moved, come under examination in several essays. The final two chapters deal specifically with the composer‘s relationships with women, and the psychological and physiological illnesses from which he suffered. Each of the essays here charts new and existing evidence to provide fresh perspectives on these aspects of Schubert‘s life and music, making this volume an indispensable tool for scholars concerned with his work.
Schubert the Progressive: History, Performance Practice, Analysis
by Brian NewbouldThe eleven essays that comprise this volume represent some of the most significant strands of current Schubert research. Arising from an international conference organized by the Schubert Institute (UK) and the University of Leeds in 2000, the emphasis of the papers is on issues of performance practice, analysis and hermeneutics. In the opening essay of the book, Charles Rosen illuminates some of Schubert's compositional practices and their implications for performers. Further performance problems are explored by Walther D rr who highlights the paradox between Schubert's precise notation of pitches and rhythm and his imprecision in relation to dynamics and articulation. As Roy Howat makes clear in his essay, the performer needs to read between the lines of even the best Schubert editions.Aspects of Schubert's style are explored in other essays. Clive McClelland discusses the composer's use of ombra style, while Brian Newbould examines Schubert's techniques of compression and expansion as illustrated in his dances and in sonata movements. Robert Hatten explores the G major Piano Sonata as pastoral, and James Sobaskie and Nicholas Rast provide complementary analyses of the A minor Quartet.The organization of musical time in Schubert and his relationship in this regard to later composers is the subject of Susanne Kogler's essay, while Walburga Litschauer discusses Schubert's early piano sonatas and previously unknown versions of them. Various enigmas surrounding Schubert's life and music are discussed by Roger Neighbour.With contributions from both internationally acclaimed and younger scholars, this volume represents a further step in the multifaceted direction that Schubert research is taking.
Schubert's Beethoven Project
by John M. GingerichWhy couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.
Schubert's Fingerprints: Studies In The Instrumental Works
by Susan WollenbergAs Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.
Schubert's Goethe Settings
by LorraineByrne BodleyThe traditional approach to the study of Goethe and Schubert is to place them in opposition to one another, both in terms of their life experiences and in relation to the nineteenth-century Lied. In her introduction to this book, Lorraine Byrne examines the myths that have evolved around these artists and challenges the view that Goethe was unmusical and conservative in his musical tastes. She also considers Schubert's life in relation to his obvious affinity with the poet and links the composer's Goethe settings with the poet's perception of the Lied. Goethe judged the success of a setting by whether the meaning of the text had been realised in musical form. In his Goethe settings Schubert translates the poet's meaning into musical terms and his rendition attains the classical unity of words and music that Goethe sought. The core of this volume is the series of individual analyses of all of Schubert's solo, dramatic and multi-voice settings of Goethe texts. These explore in detail both the literary and the musical dimensions of each work, and Schubert's reading and interpretation of Goethe's writings. This is the first study in English to treat both artists with equal attention and insight. This, together with its encyclopaedic coverage of this important corpus of works, makes this volume an essential reference tool for all those who study Schubert and Goethe.
Schubert's Instrumental Music and Poetics of Interpretation
by René RuschMusic scholarship's views of Franz Schubert's instrumental works continue to evolve. How might aesthetic values, historiographies, revisions to the composer's biography, and disciplinary commitments affect how we interpret his music?Schubert's Instrumental Music and Poetics of Interpretation explores the aesthetic positions and operations that underlie critical assessments of Schubert's instrumental works. In six chapters, each devoted to one or two of Schubert's pieces, René Rusch examines the conditions that have prompted scholarship to reevaluate the composer's music and legacy, considers how different conclusions about his music may be reflective of certain aesthetic values, investigates the role of narrative in both music analysis and constructions of history, and explores alternative forms of coherence through updated analyses of the composer's instrumental works. Rusch's observations and comparative analyses address four significant areas of scholarly focus in Schubert studies, including his approach to chromaticism, his unique musical forms, the relationship between his music and biography, and the influence of Beethoven.Drawing from a range of philosophical, hermeneutic, historical, biographical, theoretical, and analytical sources, Schubert's Instrumental Music and Poetics of Interpretation offers readers a unique and innovative foray into the poetics of contemporary analyses of Schubert's instrumental music and develops new ways to engage with his repertoire.
Schubert's Late Music
by Julian Horton Bodley, Lorraine Byrne and Horton, Julian Lorraine Byrne BodleySchubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.
Schubert's Lieder and the Philosophy of Early German Romanticism
by Lisa FeurzeigThis study of Franz Schubert's settings of poetry by Friedrich Schlegel and Novalis introduces the fascinating world of early German Romanticism in the 1790s, when an energetic group of bold young thinkers radically changed the landscape of European thought. Schubert's encounters with early Romantic poetry some twenty years later reanimated some of the movement's central ideas. Schubert set eleven texts from Schlegel's Abendröte poetic cycle and six poems drawn from Novalis' religious and erotic poetry. Through detailed analyses of how various musical structures in these songs mirror and sometimes even explicate the central ideas of the poems, this book argues that Schubert was an abstract thinker who used his medium of music to diagram the complex ideas of a highly intellectual movement. A comparison is made to the hermeneutic theory of that time, primarily that of Schleiermacher, who was himself linked to the early Romantics. Through exploration of ideas such as Schlegel's representation of the necessary interdependence of part and whole and Novalis' strong association of religious and erotic experience, along with their musical representations by Schubert, this book opens an intriguing world of thought for modern readers. At the same time, Feurzeig explores some of Schubert's little-known songs, which range from quirky to charming to exquisite.
Schubert's Piano
by Christine Martin Matthew GardnerThe piano features prominently in Schubert's musical output throughout his career, not only as an instrument for solo piano pieces (for two and four hands), but also in Lieder and chamber music as an equal partner to the voice or other instruments. His preference for the instrument is reflected in contemporary reports by his friends and colleagues as well as in iconography, where he is frequently depicted at the piano. In early nineteenth-century Vienna the piano underwent a rapid period of development, allowing composers to experiment with expanded ranges, sonorities and effects that differ substantially from modern concert grands. Schubert's Piano considers the composer's engagement with this instrument in terms of social history, performance and performance practices, aesthetics, sonority and musical imagery, and his approaches to composition across several musical genres, stimulating new insights into the creative interplay among Schubert's piano compositions.
Schubert's Songs: A Biographical Study
by Dietrich Fischer-DieskauIn this book Dietrich Fischer-Dieskau, one of the greatest interpreters of German Lieder, conducts a masterly study of the genesis and development of Schubert's music, revealed in terms of the composer's own life and growth to psychological maturity. Of the six hundred and eight Lieder that Schubert composed during his brief life, only a very small proportion was widely known until Dietrich Fischer-Dieskau recorded three volumes of them and began to introduce the neglected ones into his concert programs. This book sets the songs against the background of the composer's life in Vienna, revealing the relevance of his Lieder to the age he lived in. With the outstanding musicianship and complete sincerity that are the hallmarks of his art, the author discusses the brilliance and diversity of the Lieder settings, from the simple strophic to the "through composed" song and the great song cycles; and he deals in detail with the texts, which range from those by Goethe and Shakespeare to the often indifferent verses of the composer's friends. For singers and accompanists, professional and amateur musicians, record enthusiasts, and concert-goers everywhere, this is a book of inestimable value--by a great musician--about one of the greatest musicians of all time. Probably the best-known baritone in the Western world, Dietrich Fischer-Dieskau was born in Germany in 1925. Since the beginning of his career in post-World War II Germany, his influence on singers and singing has been enormous. Renowned for his performances of the songs of Schubert, Brahms, Schumann, Beethoven, Mozart, Verdi, and Wagner, he is acclaimed by musicians and critics as one of the supreme artists of our time.
Schubert's String Quartets: The Teleology of Lyric Form (Music in Context)
by Anne HylandFranz Schubert's music has long been celebrated for its lyrical melodies, 'heavenly length' and daring harmonic language. In this new study of Schubert's complete string quartets, Anne Hyland challenges the influential but under-explored claim that Schubert could not successfully incorporate the lyric style into his sonatas, and offers a novel perspective on lyric form that embraces historical musicology, philosophy and music theory and analysis. Her exploration of the quartets reveals Schubert's development of a lyrically conceived teleology, bringing musical form, expression and temporality together in the service of fresh intellectual engagement. Her formal analyses grant special focus to the quartets of 1810–16, isolating the questions they pose for existing music theory and employing these as a means of scrutinising the relationship between the concepts of lyricism, development, closure and teleology thereby opening up space for these works to challenge some of the discourses that have historically beset them.
Schubert's Winter Journey
by Ian BostridgeAn exploration of the world's most famous and challenging song cycle, Schubert's Winter Journey (Winterreise), by a leading interpreter of the work, who teases out the themes--literary, historical, psychological--that weave through the twenty-four songs that make up this legendary masterpiece.Completed in the last months of the young Schubert's life, Winterreise has come to be considered the single greatest piece of music in the history of Lieder. Deceptively laconic--these twenty-four short poems set to music for voice and piano are performed uninterrupted in little more than an hour--it nonetheless has an emotional depth and power that no music of its kind has ever equaled. A young man, rejected by his beloved, leaves the house where he has been living and walks out into snow and darkness. As he wanders away from the village and into the empty countryside, he experiences a cascade of emotions--loss, grief, anger, and acute loneliness, shot through with only fleeting moments of hope--until the landscape he inhabits becomes one of alienation and despair. Originally intended to be sung to an intimate gathering, performances of Winterreise now pack the greatest concert halls around the world. Drawing equally on his vast experience performing this work (he has sung it more than one hundred times), on his musical knowledge, and on his training as a scholar, Bostridge teases out the enigmas and subtle meanings of each of the twenty-four lyrics to explore for us the world Schubert inhabited, his biography and psychological makeup, the historical and political pressures within which he became one of the world's greatest composers, and the continuing resonances and affinities that our ears still detect today, making Schubert's wanderer our mirror.From the Hardcover edition.
Schubert's Workshop: Mastery and Beyond (Routledge Research in Music)
by Brian NewbouldSchubert’s Workshop offers a fresh study of the composer’s compositional technique and its development, rooted in the author’s experience of realising performing versions of Franz Schubert’s unfinished works. Through close examination of Schubert’s use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer’s technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.
Schubert's Workshop: Towards an Early Maturity (Routledge Research in Music)
by Brian NewbouldSchubert’s Workshop offers a fresh study of the composer’s compositional technique and its development, rooted in the author’s experience of realising performing versions of Franz Schubert’s unfinished works. Through close examination of Schubert’s use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer’s technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.
Schubert: A Musical Wayfarer
by Lorraine BodleyAn insightful biography of the great composer, revealing Schubert’s complex and fascinating private life alongside his musical genius Brilliant, short-lived, incredibly prolific—Schubert is one of the most intriguing figures in music history. While his music attracts a wide audience, much of his private life remains shrouded in mystery, and significant portions of his work have been overlooked. In this major new biography, Lorraine Byrne Bodley takes a detailed look into Schubert’s life, from his early years at the Stadtkonvikt to the harrowing battle with syphilis that led to his death at the age of thirty-one. Drawing on extensive archival research in Vienna and the Czech Republic and reconsidering the meaning of some of his best-known works, Bodley provides a fuller account than ever before of Schubert’s extraordinary achievement and incredible courage. This is a compelling new portrait of one of the most beloved composers of the nineteenth century.
Schubert: History, Theory, Style (The\early Romantic Composers Ser.)
by Julian HortonThe collection of essays in this volume offer an overview of Schubertian reception, interpretation and analysis. Part I surveys the issue of Schubert�s alterity concentrating on his history and biography. Following on from the overarching dualities of Schubert explored in the first section, Part II focuses on interpretative strategies and hermeneutic positions. Part III assesses the diversity of theoretical approaches concerning Schubert�s handling of harmony and tonality whereas the last two parts address the reception of his instrumental music and song. This volume highlights the complexity and diversity of Schubertian scholarship as well as the overarching concerns raised by discrete fields of research in this area.
Schubert: The Complete Song Texts
by Richard WigmoreThis is a complete collection of Franz Schubert's solo songs in German originals with English translations. A small number are in Italian with English translations. Schubert's songs are the most frequently performed of the whole vocal repertoire, and, for many people, the best loved. They range from the very short--lasting barely two minutes--to immensely long ballads, and scenas which are virtually cantatas. Schubert was among the most prolific of composers, having written (in addition to a large output of symphonies, sonatas, quartets, masses and operas) more than 600 songs by the time of his death in 1828 at the age of 31. Almost all his songs are settings of German poetry, but a few use Italian words, and the texts of several are German translations of English poetry and prose by Sir Walter Scott, Shakespeare, James Macpherson (Ossian) and others. Schubert composed more than a hundred settings of Goethe, the greatest of all German poets, and many of these are among the finest and best loved of his songs. But he also set the work of other major German poets of the 18th and early 19th centuries. The most famous of the songs have appeared in previously published volumes of Lieder texts, such as The Penguin Books of Lieder and The Fischer-Dieskau Book of Lieder; but more and more, these days, singers are discovering the beauties of the less familiar songs, and adding them to concert programmes and recordings. This book fulfils the growing need for parallel texts and translations of all the songs, and is the first in its field. The prose translations, keeping as close as possible to the originals, are most sympathetic, and readable in their own right, and will be invaluable to the singer with little or no German, as well as a delight to the many music-lovers who listen to these songs on radio, on record and at concerts. This electronic edition is formatted with a line of English translation below each line of German original and is DAISY formatted with each song at level 1.
Schumann on Music: A Selection from the Writings
by Robert Schumann Henry PleasantsIncludes 61 important critical pieces Schumann wrote for the Neue Zeitschrift fur Musik 1834-1844. Perceptive evaluations of Beethoven, Chopin, Schubert, other giants; also Spohr, Moscheles, Field, other minor masters. Annotated.
Schumann on Music: A Selection from the Writings (Dover Books On Music: Composers)
by Robert Schumann Henry PleasantsSchumann's genius as a composer is well known; perhaps less well known is the fact that he was also a gifted music critic who wrote hundreds of perceptive essays, articles, and reviews for the Neue Zeitschrift fur Müsik, the influential music journal he founded in 1834.The present work, translated and edited by noted critic Henry Pleasants, contains 61 of the most important critical pieces Schumann wrote for Neue Zeitschrift between 1834 and 1844. The articles are arranged in chronological order, with ample annotation, demonstrating not only Schumann's development as a writer and critic but also the evolution of music in Europe during a decisive decade.In addition to such major set pieces as "Florestan's Shrovetide Oration," the essays on Berlioz's Symphonie Fantastique and Schubert's Symphony in C Major, and the imaginative and literate "The Editor's Ball," this volume offers discerning observations on Mendelssohn, Chopin, Beethoven, Liszt, Cherubini, and other giants. Also included are critical considerations of an ensemble of minor masters: Sphor, Hiller, Moscheles, Hummel, and Gade, among others. The result is a rich and representative picture of musical life in the mid-19th century.Schumann's criticism has long been famous for its perceptiveness and literary style. Those qualities are in ample evidence in this treasury of his finest critical writings, now available to every music lover in this inexpensive, high-quality edition.
Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany
by Alexander StefaniakConsidered one of the greatest composers--and music critics--of the Romantic era, Robert Schumann (1818-1856) played an important role in shaping nineteenth-century German ideas about virtuosity. Forging his career in the decades that saw abundant public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity through not only his compositions and performances but also his music reviews and writings about his contemporaries. Ultimately, the discourse of virtuosity influenced the culture of Western "art music" well beyond the nineteenth century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in nineteenth-century German virtuosity and the enduring flexibility of virtuosity discourse.
Schumann: The Faces and the Masks
by Judith ChernaikA groundbreaking account of Robert Schumann, a major composer and key figure of Romanticism, whose life and works have been the subject of intense controversy since his early death in a mental asylum.Schumann: The Faces and the Masks draws us into the milieu of the Romantic movement, which enraptured poets, musicians, painters, and their audiences in the early nineteenth century and beyond, even to the present day. It reveals how Schumann (1810-1856) embodied all the contrasting themes of Romanticism--he was intensely original and imaginative but also worshipped the past; he believed in political, personal, and artistic freedom but insisted on the need for artistic form based on the masters: Bach, Haydn, Mozart, and Beethoven. It details his deep involvement with other composers of his time, such as Chopin and Mendelssohn, Liszt and Brahms, as well as the literary lights of the age--Johann Wolfgang von Goethe, Heinrich Heine, E.T.A. Hoffmann--whose works gave inspiration to his compositions and words to his songs. Drawing on hitherto unpublished archive material, as well more established sources of journals, letters, and publications, Judith Chernaik provides enthralling new insight into Schumann's life and his music: his sexual escapades, his fathering of an illegitimate child, the facts behind his courtship of Clara Wieck--already a noted young concert pianist--his passionate marriage to her despite the opposition of her manipulative father, his passionate marriage, and the ways his many crises fed into the dreams and fantasies of his greatest works, turning his tumultuous life into music that speaks directly to the heart.
Schumann’s Music and E. T. A. Hoffmann’s Fiction
by John MacauslanFour of Schumann's great masterpieces of the 1830s - Carnaval, Fantasiestücke, Kreisleriana and Nachtstücke - are connected to the fiction of E. T. A. Hoffmann. In this book, John MacAuslan traces Schumann's stylistic shifts during this period to offer insights into the expressive musical patterns that give shape, energy and individuality to each work. MacAuslan also relates the works to Schumann's reception of Bach, Beethoven, Novalis and Jean Paul, and focuses on primary sources in his wide-ranging discussion of the broader intellectual and aesthetic contexts. Uncovering lines of influence from Schumann's reading to his writings, and reflecting on how the aesthetic concepts involved might be used today, this book transforms the way Schumann's music and its literary connections can be understood and will be essential reading for musicologists, performers and listeners with an interest in Schumann, early nineteenth-century music and German Romantic culture.
Schwelgen dürft ihr: Musikbezogene Affektstrukturen im Laien-Pop-Chor
by Anna RizziChöre sind aus der deutschen Laienmusikszene ebenso wenig wegzudenken wie Berichte über mit dem gemeinsamen Singen einhergehende Gefühle. Was allerdings spielt sich in der Proben-Praxis von Chören im Hinblick auf gefühlsbezogene Phänomene ab? Welche Strukturen zeigen sich, wenn Affektivität nicht im Sinne privater Gefühlszustände, sondern als sozial gewachsenes Tun verstanden wird? Diesen Fragen widmet sich das vorliegende Buch, in dem die Praktiken eines Laien-Pop-Chors ethnographisch und mit Fokus auf affektivem Geschehen beforscht werden. Die praxistheoretisch fundierte Arbeit fokussiert dabei vor allem darauf, wie affektive Zuschreibungen in den Chorpraktiken sichtbar und als Mittel der Probenarbeit routinehaft eingesetzt werden. Ein Schwerpunkt liegt auf affektbezogenen Ansagen und davon ausgehend auf der Frage nach dem praktischen Wissen, das die Sänger*innen zu kompetenten Teilnehmer*innen ihrer Chor-Praxis macht. Das Potential praxeologischer Emotionskonzepte für die empirische Untersuchung musikbezogener Praxen manifestiert sich in detaillierten Fallanalysen der beforschten Praxis, die deren Affektivität nicht nur empirisch greifbar machen, sondern sie zugleich auch auf produktive Weise entmystifizieren.
Schöner fremder Klang – Wie exotische Musik nach Deutschland kam: Band 1: Ragtime, Tango, Rumba & Co. (1855–1945)
by Claus SchreinerIn seiner großen Geschichte der ‚exotischen‘ populären Musik beschreibt Claus Schreiner den transatlantischen Weg all der uns heute vertrauten Musikstile von ihren Ursprüngen nach Europa und Deutschland. Er berichtet im ersten von drei Bänden, wann und wie es zu ersten Begegnungen von Europäern mit afroamerikanischen Künstlern kommt und wie Charleston, Ragtime, Jazz, Tango, Maxixe, Rumba, Biguine in Kolonialzeiten und in den Küstenstädten Lateinamerikas entstehen. Die Aufnahme, Anverwandlung und Amalgamierung der vielen fremden Musikstile in den Metropolen Europas wird im Hauptteil des Buches lebendig und mit vielen Künstlerbiographien, Songtexten und Geschichten beschrieben. Wie gingen die Deutschen zwischen Kaiserreich und NS-Staat mit den exotischen Tänzen und den Künstlerinnen und Künstlern um? Welche Rolle spielten Musikethnologie, Unterhaltungsindustrie, Zeitgeist und die Folgen von Krieg, Kolonialzeit und Nationalsozialismus? Das Buch zeichnet ein deutliches Bild von der überragenden Rolle der ‚exotischen‘ Musik für die populäre Kultur der Moderne.