NOTES

INTRODUCTION: Tradition and Nationality (pp. 1-9)

p.5: argument that pop music depends on commercial success (see quote sheet for more) "cultural mediators" that decide what's culturally important/whether entertainment counts

p.6-7: types of (musical) traditions that will be discussed in the book:

Transplanted: "those which have been imported from other areas of the world - in the case of Austria largely from the Anglo-American popular music genres - and have established a small, intimate beachhead or outpost on the Austrian popular music map." (p.6)

Transformed: "based on those long-term domestic genres which have well-entrenched representatives in the major institutions of the recording industry, the electronic mass media and a variety of different performance venues." (p.6) - most stable and the oldest according to Larkey

Transcultural/transnational: "contains "elements of music and music technology spread by the transnational industry" which are incorporated into local music. This hybrid type combines "features from several kinds of music" (Wallis and Malm 1984: 300)." (p.7) - primary focus of the book, goes on to provide examples such as disco, acid house, Europop/Eurobeat. also the pet shop boys are mentioned ("who presently pusue the strategy of syncretic combination most successfully")

Austropop "arose in 1971 among Austrian university and high school students, as an aggregate of different music scenes and genres, including rock and folk." (p.7, more in quote sheet)

SECTION ONE: Diffusion: Catalyst for Construction of Meaning

INTRODUCTION TO SECTION ONE (pp. 13-18)

p.7: equation of tradition with diffusion by A.L. Kroeber

diffusion: "the geographic spread of an innovation from the place of individuals"
tradtion: "the temporal spread of innovations, their "internal handing on through time"
"the primary sites of diffusion are live performances, radio and television broadcasts, and film, as well as different types of recordings accessible to different audience communities."

p. 17: music will be re-contextualised as it leaves the original country subject to the audience's personal tastes (taste community) - this taste community will apply their own meanings to music (el thought: i am literally only thinking about 8 beat gag here right now but we can also see it in the way people really, really loved Rock Me Amadeus to the point the simpsons parodied it and rhymed Amadeus with Dr. Zaius)

CHAPTER 1 - Consumption: The Creation of Meaning (pp. 19-34)

pp. 20-24 cover surveys of youth music consumption in terms of genres (Vienna, ÖIBF 1986:207), knowledge of genres (commissioned by Ö3, Fessel & GfK 1976: 4a), and ways music is consumed (Jugendbericht 1987: 78)

p.25: from Wallis and Malm (1987, p. 143)

exposure = "the amount of contact" with the music,
consumption = "those learned or remembered from exposure",
use = "the personal and social opportunities, applications, satisfactions, and gratifications that are related to exposure and consumption"

(see quote sheet entry): draws from Wallis and Malm's arguments, essentially there are different levels of music consumption

p.26-27: vocals, language, rhythm as outlined by Richard Middleton in Studying Popular Music and Alan Durant in Conditions of Music - read these.

"Using German names was considered a sign of cultural backwardness and rejection of the new music" - context for Falco's choice of stage name?

SUMMARY: discusses consumption of music and different forms, gives an overview of youth music tastes + various concert spaces in Austria.

CHAPTER 2 - Movement of Meaning: Transformation into Structure (pp. 35-50)

p.36: from Pickering and Green (1987, p. 2) - vernacular milieu = "a "local environment" composed of "specific immediate contexts" of everyday life, within which people "participate in non-mediated forms and processes of cultural life"

end of p.40-45: talks about the material costs of making music in Austria incl. purchasing instruments, finding rehearsal space, accounting for noise curfews + the problem with acquiring a stage presence + who the highest paid musicians were according to Tschin Bumm (p.44) DRAHDIWABERL were paid 50,000 öS per performance

p. 47: Peter Jürgen Müller as the producer and studio owner of groups such as the EAV, STS, Wolfgang Ambros and OPUS. Also Robert Ponger, former member of group ACID and producer for Falco's earlier music.

SUMMARY: overview of the Austrian music industry and the careers of various musicians after their time in bands/as a pop act, referred to as "fall-back" professions - pp. 46-50 especially cover this.

CHAPTER 3 - The Electronic Media: Focus for the Aesthetic Consensus (pp. 51-74)

p. 52: policies from the ORF

CHAPTER 4 - Record Production: A Step in the Movement of Meaning (pp. 75-88)

SECTION TWO: Historical Changes in Aesthetic Alliances

Introduction to Section Two (pp. 91-94)

austrian pop music diversified over the 1950s

Chapter 5 - The Tremors of Change: Rock and Roll Consumption in the 1950s (pp. 95-116)

Chapter 6 - Learning-by-Doing in the 1960s: Imitation

the beatles and the fall in popularity of Schlager

LOOK INTO:

X-Larke, Ohne Maulkorb, Ö3
Schlager music: "largely the domain of the German recording industry in the 1950s and 1960s" (p.6)
DE: Peter Maffay, Herbert Grönemeyer, Udo Lindenberg
AT: Peter Alexander, Udo Jürgens, Peter Cornelius, Freddy Quinn
Tschinn Bumm, music periodical; mentioned editions: February 1986, March 1989
ORF - Ö3 and its criticisms, history, music policies.