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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
This book provides a detailed analysis of the lyrics of the German rock musician Udo Lindenberg and of the singer-songwriter Konstantin Wecker. The investigation starts from the assumption that lyrics which are not in English put more weight onto the textual side of popular songs; the lyrics are therefore analysed separately from music and performance. Furthermore, this study goes beyond the distinction between dominant and mass literature which, within literary studies, has so far prevented an unbiased approach towards song lyrics. Finally, it is suggested that Lindenberg’s and Wecker’s lyrics can be read as contemporary variations of Gebrauchslyrik, a concept that was developed by major representatives of the German cabaret culture during the 1920s and 1930s. Hence, the book recapitulates the history of both the German cabaret and the development of German popular music, and places Lindenberg and Wecker within these cultural movements.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
This book provides a detailed analysis of the lyrics of the German rock musician Udo Lindenberg and of the singer-songwriter Konstantin Wecker. The investigation starts from the assumption that lyrics which are not in English put more weight onto the textual side of popular songs; the lyrics are therefore analysed separately from music and performance. Furthermore, this study goes beyond the distinction between dominant and mass literature which, within literary studies, has so far prevented an unbiased approach towards song lyrics. Finally, it is suggested that Lindenberg’s and Wecker’s lyrics can be read as contemporary variations of Gebrauchslyrik, a concept that was developed by major representatives of the German cabaret culture during the 1920s and 1930s. Hence, the book recapitulates the history of both the German cabaret and the development of German popular music, and places Lindenberg and Wecker within these cultural movements.