Hostname: page-component-6bf8c574d5-86b6f Total loading time: 0 Render date: 2025-03-04T05:48:19.312Z Has data issue: false hasContentIssue false

Popular music studies behind the Iron Curtain: the constitution of popular music research in East-Central Europe before 1989

Published online by Cambridge University Press:  25 February 2025

Peter Wicke*
Affiliation:
Independent scholar, Mühlenbeck, Germany E-mail: pwicke@popmusicology.org

Abstract

The study of popular music in the Soviet-controlled East-Central European region has yet to receive the attention it merits. The objective of this study was to fill this gap by investigating the genealogy of popular music research in East Central Europe prior to 1989. It provides a comprehensive account of the evolution of popular music research in socialist East-Central Europe, with a particular focus on Czechoslovakia, Hungary and East Germany. It delineates the challenges encountered by researchers in reconciling their work with the complex cultural and political conditions of the era. Furthermore, it considers the influence of Marxist ideology on musicology and sociology, and how this may have shaped research. It offers new perspectives on the history of popular music studies in this domain, which has been lightly explored until now. It seeks to shed light on the intricate relationship between music, politics and ideology behind the Iron Curtain.

Type
Article
Copyright
Copyright © The Author(s), 2025. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Albrecht, C. 1975. Arbeiterklasse und Musik: eine Dokumentation des Arbeiterliedarchivs, I: Theoretische Positionen in der deutschen Arbeiterklasse zur Musikkultur vor 1945 [Working class and music: a documentation of the Workers’ Song Archive, I: Theoretical positions in the German working class on the musical culture before 1945] (Berlin, Akademie der Künste der DDR)Google Scholar
Albrecht, C. 1977. Arbeiterklasse und Musik: eine Dokumentation des Arbeiterliedarchivs, II: Internationale Tagung der Akademie der Künste der DDR, Wissenschaftliche Abteilung Musik, Arbeiterliedarchiv, 4–6. Dezember 1974 [Working class and music: a documentation of the Workers’ Song Archive, II: International conference of the Academy of Arts of the GDR, Scientific Department of Music, Workers’ Song Archive, December 4–6, 1974] (Berlin, Akademie der Künste der DDR)Google Scholar
Ashley, S. 1994. ‘The Bulgarian Rock Scene Under Communism (1962–1990)’, in Rocking the State, Rock Music and Politics in Eastern Europe and Russia, ed. Ramet, S.P. (New York, Routledge), pp. 141–64.Google Scholar
Assafjew, B. (I. Glebov). 1927. ‘О ближайших задачах социологии музыки’ [About the immediate tasks of the sociology of music], Preface to H.J. Moser, Музыка средневекового города (Ленинград, Тритон), pp. 720Google Scholar
Bachmann, F. 1972. Rezeptionskundliche Untersuchungen zur Tanzmusik in der Deutschen Demokratischen Republik [Studies on the reception of dance music in the German Democratic Republic] (Leipzig, Deutscher Verlag für Musik)Google Scholar
Bácskai, E., and Vitányi, I. 1969. Beat (Budapest, Zenemíkiado)Google Scholar
Barna, E., and Ignácz, Á. 2018. ‘Musical and social structures: Marxist interpretations of popular music in the 1960s and early 1970s in Hungary and the UK’, IASPM Journal, 8, https://iaspmjournal.net/index.php/IASPM_Journal/article/view/902/pdfCrossRefGoogle Scholar
Baumgarten, U. 1989. ‘Schwieriges Schwermetall’ [Difficult heavy metal], Journal für Unterhaltungskunst, 1/3, pp. 922Google Scholar
Bimberg, S. 1963. ‘Zum Stand der Rezeptionsuntersuchungen in Halle’ [On the status of reception studies in Halle], Musik und Gesellschaft, 13/9, pp. 550–59Google Scholar
Binas, S. 1989. ‘Gib Power. Zum gestischen Repertoire im Heavy Metal’ [Give power. The gestural repertoire in heavy metal], Journal für Unterhaltungskunst, 1/2, pp. 312Google Scholar
Bloss, M. 1990. ‘Popularität: Aspekte zum Funktions- und Wirkungszusammenhang populärer Musik’ [Popularity: Aspects of the functional and impact context of popular music], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Blüml, J. 2017. ‘Popular music studies in the context of post-Communist historiography in the Czech Republic’, in Popular Music Studies Today. Proceedings of the International Association for the Study of Popular Music 2017, ed. Merill, J. (Wiesbaden, Springer), pp. 3542CrossRefGoogle Scholar
Blüml, J. 2020. ‘Starting points of “Popular Music Studies” in Czechoslovakia’, Załącznik Kulturoznawczy, Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie, 7, pp. 238–58Google Scholar
Blüml, J., and Ignácz, A. 2022. ‘History of popular music research in the Czech lands and Hungary: contexts, parallels, interrelations (1918–1998)’, Hudební věda, 59/2–3, pp. 149213CrossRefGoogle Scholar
Blüml, J., Kajanovà, Y., and Ritter, R. (eds) 2019. Popular Music in Communist and Post-Communist Europe (Frankfurt am Main, Peter Lang)CrossRefGoogle Scholar
Bretschneider, S. 2015. ‘Popmusik im Nachkriegs-Dresden: Akteure und Strategien in einer deutschen “Musikstadt”, 1945–1960’ [Pop music in postwar Dresden: Actors and strategies in a German ‘city of music’, 1945–1960], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Czerny, P., and Hofmann, H.P. 1968. Der Schlager. Ein Panorama der leichten Musik [The Schlager. A panorama of light music], Vol. 1 (Berlin, Lied der Zeit)Google Scholar
Dobrescu, C. 2011. The Phoenix that could not rise. Rock culture in Romania, 1960–1989 (Amsterdam, Brill)CrossRefGoogle Scholar
Dorůžka, L. 1977. ‘Anmerkungen zur musikalischen Analyse von Jazz und Rock/Notes on the musical analysis of jazz and rock’, jazzforschung/jazz research, 8, pp. 6780Google Scholar
Dorůžka, L. 1978. Populárna hudba – priemysel, obchod, umenie [Popular music – industry, business, art] (Bratislava, OPUS)Google Scholar
Eisler, H. 1982. ‘Hörer und Komponist II’ [Listener and composer II] [1949], in Eisler, H., Musik und Politik. Schriften 19481962, ed. Mayer, G. (Leipzig, Deutscher Verlag für Musik), pp. 6471Google Scholar
Engelmann, B. 1985. Gebrauchsweisen von ‘Jugendmusik’. Über das Massenmedium Rundfunk [Uses of ‘youth music’. About the mass medium radio] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Ernst, V. 1965. ‘Der westdeutsche Schlagerkult um 1960: Eine soziologische, ästhetische und experimentell-musikakustische Studie’ [The West German schlagerkult around 1960: A sociological, aesthetic and experimental-music-acoustic study], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Felber, H. 1991. ‘Gebrauch populärer Musik durch Jugendliche der DDR. Theoretische und empirische Aspekte eines Massenphänomens’ [Use of popular music by young people in the GDR. Theoretical and empirical aspects of a mass phenomenon], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Fichter, M. 2011. ‘Rock ’n’ roll nation: counterculture and dissent in Romania, 1965–1975’, Nationalities Papers, 39/4, pp. 567–85CrossRefGoogle Scholar
Forét, M. 1990. ‘Sociological Aspects of Popular Music in Czechoslovakia in the Eighties’, Popular Music and Society, 14/4, pp. 4955CrossRefGoogle Scholar
Friedrich, W., Förster, P., and Starke, K. (eds). 1999. Das Zentralinstitut für Jugendforschung Leipzig 19561990. Geschichte. Methoden, Erkenntnisse [The Central Institute for Youth Research Leipzig 1956–1990. History, methods, findings] (Berlin, edition ost)Google Scholar
Frith, S.1990. ‘What Is Good Music?’, Alternative Musicologies/Les Musicologies Alternatives, 10/ 2, pp. 92102Google Scholar
Frommann, E. 1999. Die Lieder der NS-Zeit: Untersuchungen zur nationalsozialistischen Liedpropaganda von den Anfängen bis zum Zweiten Weltkrieg [The songs of the Nazi era: Investigations into National Socialist song propaganda from the beginnings to the Second World War] (Köln, PapyRossa-Verlag)Google Scholar
Fukač, J., and Poledňák, I. 1977. K typologickým polarizacím hudby, zejména polarizaci hudby artificiální a nonartificiální [To the typological polarizations of music, especially the polarization of artifical and non-artifical music], Hudební věda, 14/4, pp. 316–35Google Scholar
Galuszka, P. 2020. ‘Polish popular music and its research: filling the gaps’, in Made in Poland. Studies in Popular Music, ed. Galuszka, P. (New York, Routledge), pp. 113Google Scholar
Gerlach, C. 1981. Untersuchungen zur Tanzmusik in der DDR [Studies on dance music in the GDR] (Leipzig, Deutscher Verlag für Musik)Google Scholar
Görnandt, D. 1989. ‘Medienkonzepte und populäre Musik in der DDR’ [Media concepts and popular music in the GDR], PhD dissertation (Berlin, Humboldt–Universität)Google Scholar
Grabowsky, I. 2012. ‘Motor der Verwestlichung: Das sowjetische Éstrada-Lied 1950–1975’ [Engine of westernization: the soviet Éstrada song 1950–1975], Osteuropa, 62/ 4, pp. 2035Google Scholar
Hansen, S. 1984. ‘Die Diskothek als gesamtgesellschaftliches Phänomen und ihre Möglichkeiten für die Entwicklung der Musikalität Jugendlicher’ [The discotheque as an overall social phenomenon and its possibilities for the development of musicality in young people], PhD dissertation (Halle, Martin-Luther-Universität)Google Scholar
Hartmann, U. 1988. Zwischen Pop und Avantgarde – Bemerkungen zum Coverdesign von Langspielplatten der BEATLES [Between pop and avant-garde – remarks on the cover design of long-playing records of the BEATLES] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Hartmann, U. 1990. ‘Studien zum Coverdesign von Schallplatten aus dem Bereich der populären Musik’ [Studies on the cover design of records from the field of popular music], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Havlík, A. 2019. ‘Loopholes in the Iron Curtain: Obtaining Western Music in State Socialist Czechoslovakia in the 1970s and 1980s’, in Eastern European Popular Music in a Transnational Context. Beyond the Borders, ed. Mazierska, E. and Győri, Z. (London, Palgrave Macmillan), pp. 2747Google Scholar
Heiß, J. 1983. ‘Rockmusik und soziale Bewegungen in den USA’ [Rock music and social movements in the USA], PhD dissertation (Potsdam, Pädagogische Hochschule)Google Scholar
Heller, L. 1997. ‘A world of prettiness. Socialist realism and its aesthetic categories’, in Realism Without Shores, ed. Lahusen, Th. and Dobrenko, E. (Durham, NC, Duke University Press), pp. 5175Google Scholar
Hoffmann, M., and Mischke, J. 1987. Auf dem Weg zur Analyse von Rockmusik. Das Erlebnis Rockkonzert [On the way to the analysis of rock music. The experience rock concert] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Ignácz, Á. 2016. ‘Propagated, permitted or prohibited? State strategies to control musical entertainment in the first two decades of socialist Hungary’, in Popular Music in Eastern Europe. Breaking the Cold War Paradigm, ed. Mazierska, E. (London, Palgrave Macmillan), pp. 3150CrossRefGoogle Scholar
Ignácz, Á. 2017a. ‘“Music for millions”. Janos Marothy and academic research on popular music in socialist Hungary’, Muzikologija, 23, pp. 117–25CrossRefGoogle Scholar
Ignácz, Á. 2017b. ‘A populáris zene kutatásának kezdetei az államszocialista Magyarországon. Az első generáció’ [The beginnings of popular music research in socialist Hungary: The first generation], Korall –Társadalomtörténeti folyóirat, 69, pp. 169–96Google Scholar
Ignácz, Á. 2018. ‘Als populäre Musik zum Gegenstand akademischer Forschung in Ungarn wurde. Das Werk von János Maróthy’ [When popular music became the subject of academic research in Hungary. The work of János Maróthy], in Darüber hinaus… Populäre Musik und Überschreitung(en), ed. Alisch, S., Binas-Preisendörfer, S. and Jauk, W. (Oldenburg, BIS Verlag Carl von Ossietzky Universität Oldenburg)Google Scholar
Ignácz, Á. 2020. Milliók zenéje. Populáris zene és zenetudomány az államszocialista Magyarországon [The music of millions. Popular music and musicology in state socialist Hungary] (Budapest, Rózsavölgyi és Társa)Google Scholar
Jereczinsky, A. 1988. Aspekte der Vergesellschaftung des Musikprozesses [Aspects of the socialization of the musical process] (Berlin, Forschungszentrum populäre Musik)Google Scholar
John, M. 2009. Die Anfänge des sozialistischen Realismus in der sowjetischen Musik der 20er und 30er Jahre. Historische Hintergründe, ästhetische Diskurse und musikalische Genres [The beginnings of socialist realism in the Soviet music of the 20s and 30s. Historical background, aesthetic discourses and musical genres] (Bochum, projekt verlag)Google Scholar
Kajanová, Y. 2013. ‘The Rock, Pop and Jazz in Contemporary Musicological Studies’, International Review of the Aesthetics and Sociology of Music, 44/2, pp. 343–59Google Scholar
Karbusický, V. 1968. Mezi lidovou písní a šlágrem [Between Folksong and Schlager] (Praha, Editio Supraphon)Google Scholar
Kłoskowska, A. 1964. Kultura masowa. Krytyka i obrona [Mass culture. Criticism and defense] (Warsaw, Państwowe Wydawn Naukowe)Google Scholar
Knepler, G. 1960/1961, Musikgeschichte des XIX. Jahrhunderts [History of music of the XIX century], 2 vols (Berlin, Henschel)Google Scholar
Knepler, G. 1961. ‘Zur Methode der Musikgeschichtsschreibung’ [On the method of music historiography], Beiträge zur Musikwissenschaft, 2, pp. 1/313Google Scholar
Kotek, J., and Fendrych, L. 1964. ‘K metodologii a metodice výzkumu masových hudeních žánrů’ [On research methodology and methodology of mass music genres], Hudební věda, 1/4, pp. 608–16Google Scholar
Kotek, J., and Fendrych, L. 1969a. Šlágrový trh v Československu 1949–1966 podle prodejnosti čs. Gramofonových desek [The record market in Czechoslovakia 1949–1966 according to the sales of Czechoslovak gramophone records] (Praha, Editio Supraphon)Google Scholar
Kotek, J., and Fendrych, L. (1969b). ‘Šlágra jeho společenská a percepce v letech 1949–1966’ [The hit and his social apperception in the years 1949–1966], Hudební věda, 5/1, pp. 5791Google Scholar
Kotek, J., and Fendrych, L. 1978. ‘Die Rezeption der funktionalen Musik als gesellschaftlicher Aneignungsprozess’ [The reception of functional music as a social appropriation process], International Review of the Aesthetics and Sociology of Music, 9/ 2, pp. 183218CrossRefGoogle Scholar
Kotek, J., and Fendrych, L. 1994. Dějiny české populární hudby a zpěvu (do roku 1918) [History of Czech popular music and singing (until 1918)] (Praha, Academia)Google Scholar
Kotek, J., and Fendrych, L. 1998. Dějiny české populární hudby a zpěvu (1918–1968) [History of Czech popular music and singing (1918–1968)] (Praha, Academia)Google Scholar
Kratochvíl, M. 2015. ‘’Our Song!’ Nationalism in Folk Music Research and Revival in Socialist Czechoslovakia’, Studia Musicologica, 56/44, pp. 397405CrossRefGoogle Scholar
Kriese, K. (1988). ‘Produktionsverhältnisse und Kunstproduktion. Empirische Annäherung am Beispiel der Rockmusikentwicklung der DDR und theoretische Diskussion methodologischer Grundfragen’ [Production relations and art production. Empirical approach using the example of the development of rock music in the GDR and theoretical discussion of methodological basic questions], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Kriese, K. 1989. Kunst und Geld. Methodologische Grundfragen kunstökonomischen Denkens [Art and money. Methodological basic questions of art economic thought] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Kürti, L. 1994. ‘Rocking the state: youth culture and popular music in Hungary in the 1980s’, East European Politics and Societies, 5/3, pp. 145–64Google Scholar
Lammel, I. 1959. Lieder der Agitprop-Truppen vor 1945 [Songs of the agitprop troops before 1945] (Leipzig, Hofmeister)Google Scholar
Lammel, I. 1960. Lieder der Arbeiterjugend [Songs of the Workers Youth] (Leipzig, Hofmeister)Google Scholar
Larkin, C. (ed.). 1992. Encyclopedia of Popular Music (London, Guinness Publishing/Square One Books)Google Scholar
Lehmann, E. 1983. ‘Der Beitrag der Diskothek zur Entwicklung der kulturellen Bedürfnisse der Arbeiterjugend in der DDR’ [The contribution of the discotheque to the development of the cultural needs of the working-class youth in the GDR], PhD dissertation (Leipzig, Karl-Marx-Universität)Google Scholar
Lehmann, S. 1988. Kulturelle Symbole im Gestus des Rock [Cultural symbols in the gestus of rock] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Lévai, J., and Vitányi, I. 1973. Miböl lesz a sláger? [What makes a hit?] (Budapest, Zeneműkiadó)Google Scholar
Levy, C. 1981. ‘Същност, задачи и функция на съвременната политическа песен като особен тип явление в областта на културата’ [Nature, tasks and function of the modern political song as a special type of phenomenon in the field of culture], Българско музикознание, 1, pp. 4964Google Scholar
Levy, C. 1992. ‘The Influence of British Rock in Bulgaria’, Popular Music, 11/2, pp. 209–12CrossRefGoogle Scholar
Losonczi, Á. 1964. ‘Egy zeneszociológiai kutatásról’ [On the sociological study of music], Magyar Zene, 5/ 3, pp. 257–65Google Scholar
Losonczi, Á. 1969. A zenei élet szociológiája [The sociology of music] (Budapest, Akadémiai Kiadó)Google Scholar
Losonczi, Á. 1970. ‘Social characteristics of apperception of music (1966)’, in Transactions of the Sixth World Congress of Sociology, ed. International Sociological Association (Geneva, International Sociological Association), pp. 216–21Google Scholar
Losonczi, Á. 1980. Bedarf, Funktion, Wertwechsel in der Musik. Musiksoziologische Untersuchung des Musiklebens in Ungarn nach 1945 (orig. A zenei élet szociológiája, Zeneműkiadó. Budapest 1969) (Budapest, Akadémiai Kiadó)Google Scholar
Lunačarski, A. 1971. В мире музыки: статьи и речи [In the world of music: Articles and speeches] (Москва: Советский композитор)Google Scholar
Majsova, N. 2016. ‘The aesthetics of Slovene popular music for different generations of Slovene listeners: the contribution of audience research’, Popular Music and Society, 39/1, pp. 7696CrossRefGoogle Scholar
Maróthy, J. 1968. ‘Musik und Bourgeoisie – Musik und Proletariat’ [Music and bourgeois – music and proletariat], Beiträge zur Musikwissenschaft, 10/4, pp. 234–64Google Scholar
Maróthy, J. 1974. Music and Bourgeois, Music and Proletarian (Budapest, Akadémiai Kiadó) (orig. Zene és polgár, zene és proletár. Budapest 1966)Google Scholar
Maróthy, J. 1981. ‘A music of your own’, Popular Music, 1/1, pp. 1525CrossRefGoogle Scholar
Marx, K., and Engels, F. 2010. Die deutsche Ideologie [1845/46] [The German Ideology [1845/46] (Berlin, Akademie-Verlag)Google Scholar
Matzner, A., Poledňák, I., and Wasserberger, I. (eds). 1983ff. Encyklopedie jazzu a moderní populární hudby, 4 vols (Praha, Editio Supraphon)Google Scholar
Mayer, G. 1963. ‘Zur musiksoziologischen Fragestellung’ [On the sociological question of music], Beiträge zur Musikwissenschaft, 5/4, pp. 311–23Google Scholar
Mayer, G., and Stroh, W. (eds.). 2000. Musikwissenschaftlicher Paradigmenwechsel? Zum Stellenwert marxistischer Ansätze in der Musikwissenschaft [Musicological paradigm shift? On the significance of Marist approaches in music research] (Oldenburg, BIS Verlag Carl von Ossietzky Universität Oldenburg)Google Scholar
Mazierska, E. (ed.). 2016. Popular Music in Eastern Europe. Breaking the Cold War Paradigm (London, Palgrave Macmillan)CrossRefGoogle Scholar
Mazierska, E., and Győri, Z. (eds). 2019. Eastern European Popular Music in a Transnational Context. Beyond the Borders (London, Palgrave Macmillan)Google Scholar
Mischke, J., and Hoffmann, M. 1988. Analyse der Arbeits- und Lebensbedingungen von Rock und Popmusikern in der DDR [Analysis of the working and living conditions of rock and pop musicians in the GDR] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Mitchell, T. 1992. ‘Mixing pop and politics: rock music in Czechoslovakia before and after the Velvet Revolution’, Popular Music, 11/2, pp. 187203CrossRefGoogle Scholar
Mokrý, L. 1963. ‘Soziologie und Marxismus’. Beiträge zur Musikwissenschaft, 10/4, pp. 307–10Google Scholar
Nelson, C., and Grossberg, M. (eds.). 1988. Marxism and the Interpretation of Culture (Urbana, IL, University of Illinois Press)Google Scholar
Noglik, B. 1986. Rezeptionsästhetische Aspekte des zeitgenössischen Jazz [Reception-aesthetic aspects of contemporary jazz] (Berlin, Komitee für Unterhaltungskunst)Google Scholar
Noglik, B. 1990. Klangspuren: Wege improvisierter Musik [Sound traces: Ways of improvised music] (Berlin, Verlag Neue Musik)Google Scholar
Nowack, N. 2006. Grauzone einer Wissenschaft. Musiksoziologie in der DDR unter Berücksichtigung der UdSSR [Gray zone of a science. Sociology of music in the GDR in consideration of the USSR] (Weimar, Verlag und Datenbank für Geisteswissenschaften)Google Scholar
Nowack, N. 2015. Soziologisches Paradigma in russischsprachiger Musikwissenschaft. Das erste Drittel des 20. Jahrhunderts [Sociological paradigm in Russian-language musicology. The first third of the 20th century] (Mainz, Schott Campus)Google Scholar
Panteleeva, O. 2019. ‘How Soviet musicology became Marxist’, Slavonic and East European Review, 97/1, pp. 73109CrossRefGoogle Scholar
Penzel, K. 1986. Institutionalisierung der Rockmusik [Institutionalization of rock music] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Penzel, K. 1989. ‘Studien zur Institutionalisierung von Rockmusik: DDR-Rockmusik im Gefüge der Institutionen des gesellschaftlichen Kulturbereiches’ [Studies on the institutionalization of rock music: GDR rock music in the structure of the institutions of the social cultural sphere], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Petrov, P. 2011. ‘The industry of truing: socialist realism, reality, realization’, Slavic Review, 70/4, pp. 873–92CrossRefGoogle Scholar
Pickhan, G., and Ritter, R. (eds). 2010. Jazz behind the Iron Curtain (Frankfurt am Main, Peter Lang)Google Scholar
Pietraszewski, I. 2014. Jazz in Poland: Improvised Freedom (Frankfurt am Main, Peter Lang)CrossRefGoogle Scholar
Piotrowska, A.G. 2020. ‘Zofia Lissa on popular music or how the influence of Marxist ideology impacted the research on pop music in socialist Poland’, International Review of the Aesthetics and Sociology of Music, 51/1, pp. 101–20Google Scholar
Poledňák, I. 1961. Kapitolky o jazzu [Chapters on Jazz] (Praha, SHV – Státní hudební vydavatelství)Google Scholar
Poledňák, I. 1974. ‘K problému smyslu hudby a funkcí hudby’ [On the problem of the meaning of music and the functions of music], Opus musicum, 6/4, pp. 97104Google Scholar
Poledňák, I. 1983. ‘Über typologische Polarisationen der Musik, insbesondere die Polarisationen artifizieller und nonartifizieller Musik’ [On typological polarizations of music, especially the polarizations of artificial and nonartificial music], in Sozialistische Musikkultur, Traditionen, Probleme, Perspektiven II, ed. Elsner, J. and Ordzonikidze, G. (Berlin, Verlag Neue Musik), pp. 2645Google Scholar
Poledňák, I. 1984. ‘Zur Stratifikation der Späre der nonartifiziellen Musik’ [On the stratification of the sphere of nonartificial music], Beiträge zur Musikwissenschaft, 26/2, pp. 112–28Google Scholar
Poledňák, I. 1985. ‘Zum Problem der Apperzeption der Musik’ [On the problem of the apperception of music], International Review of the Aesthetics and Sociology of Music, 16/1, pp. 291327Google Scholar
Poledňák, I., and Fukač, J. 1982. ‘Ke stratifikaci sféry nonartificiální hudby’ [To the stratification of the sphere of nonartificial music], Opus Musicum, 14/1, pp. 914Google Scholar
Poledňák, I., and Kotek, J. 1974. ‘Teorie a dějiny tzv. bytové hudby jako samostatná muzikologická disciplínay’ [Theory and history of the so-called everyday music as an independent musicological discipline], Hudební věda, 11/4, pp. 335–55Google Scholar
Poledňák, I., and Matzner, A. 1982. ‘Ke specifickým rysům časového momentu v hudbě jazzového okruhu’ [On the specific features of the temporal moment in the music of the jazz circuit], Opus Musicum, 14:9, pp. 257–61Google Scholar
Probst-Effah, G. 1993. ‘Der Einfluss der nationalsozialistischen Rassenideologie auf die deutsche Volksliedforschung’ [The influence of National Socialist racial ideology on German folk song research], in Musikvermittlung als Beruf, ed. Schulten, M.L.. Essen: Die Blaue Eule, pp. 156–67Google Scholar
Radovanović, B.S. 2020. ‘Center for Popular Music Research and Popular Music Studies in Serbia: institutionalization on the musicological margins’, IASPM Journal, 10/1, pp. 7080CrossRefGoogle Scholar
Ramet, S.P. (ed.). 1994. Rocking the State. Rock Music and Politics in Eastern Europe and Russia (Boulder, CO, Westview Press)Google Scholar
Rauhut, M., and Friedrich, A. 1987. Diskographie der Amiga Rockproduktionen [Discography of Amiga rock productions] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Rauhut, B., and Rauhut, M. 1999. Amiga. Die Diskographie aller Rock- und Pop-Produktionen 1964–1990 [Amiga. The discography of all rock and pop productions 1964–1990] (Berlin, Schwarzkopf & Schwarzkopf)Google Scholar
Richter, L. 1970. Der Berliner Gassenhauer: Darstellung, Dokumente, Sammlung [The Berlin gassenhauer: description, documents, collection] (Leipzig, Deutscher Verlag für Musik)Google Scholar
Richter, L. 1977. Mutter, der Mann mit dem Koks ist da. Berliner Gassenhauer [Mother, the man with the coal is here. Berlin gassenhauer] (Leipzig, Deutscher Verlag für Musik)Google Scholar
Risch, W.J. (ed.). 2015. Youth and Rock in the Soviet Bloc. Youth Cultures, Music, and the State in Russia and Eastern Europe (Lanham, MD, Lexington Books)Google Scholar
Ritter, R. 2016. ‘Jazz in state socialism – a playground of refusal’, in Meanings of Jazz State Socialism, ed. Pickhan, G. and Ritter, R. (Frankfurt am Main, Peter Lang), pp. 1738Google Scholar
Robin, R. 1992. Socialist Realism: An Impossible Aesthetic (Stanford, CA, Stanford University Press)Google Scholar
Robinson, D.C. 1991. Music at the Margins. Popular Music and Global Cultural Diversity (Newbury Park, CA, Sage)Google Scholar
Ryback, T.W. 1990. Rock Around the Bloc: A History of Rock Music in Eastern Europe and the Soviet Union (Oxford, Oxford University Press)Google Scholar
Schmenner, R. 2000. ‘Manchmal wüsst' ich gern wer ich wirklich bin – Anmerkung zur Fachtagung ‘Marxistische Perspektiven in der Musikwissenschaft՚’ [Sometimes I would like to know who I really am – Note on the Symposium ‘Marxist Perspectives in Musicology’], in Musikwissenschaftlicher Paradigmenwechsel? Zum Stellenwert marxistischer Ansätze in der Musikforschung, ed. Mayer, G. and Stroh, W.M. (Oldenburg, BIS Verlag Carl von Ossietzky Universität Oldenburg), pp. 376–81Google Scholar
Schmidt-Rost, C. 2016. ‘1956 – a turning point for the jazz scenes in the GDR and Poland’, in Meanings of Jazz in State Socialism, ed. Pickhahn, G. and Ritter, R. (Frankfurt am Main, Peter Lang), pp. 3974Google Scholar
Schmidt, D. 1985. Die sozialen Bedingungen der Musikrezeption Jugendlicher in der DDR [The social conditions of music reception by young people in the GDR] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Schneider, F. 1980. ‘Einige methodologische Überlegungen zur Musikgeschichte des 20. Jahrhunderts’ [Some methodological reflections on the history of music in the 20th century. Century], Studia Musicologica Academiae Scientiarum Hungaricae, 22/1/4, pp. 327–32Google Scholar
Statelova, R. 1992. ‘Опит за преодоляване на негативната парадигма’ [An attempt to overcome the negative paradigm], Българско музикознание, 16, pp. 1025Google Scholar
Statelova, R. 1994. ‘Das Elementare – Einige Aspekte der Erforschung der Populären Musik’ [The elementary – some aspects of the study of popular music], PopScriptum, 2: Musikindustrie, pp. 110Google Scholar
Steinitz, W. 1954/1962. Deutsche Volkslieder demokratischen Charakters aus sechs Jahrhunderten [German folk songs of democratic character from six Centuries] (Berlin, Akademie-Verlag)Google Scholar
Strulick, C., and Meyer, T. 1983. ‘Vermittlungsformen von Tanzmusik in Veranstaltungen – Eine Befragung von Jugendlichen, Musikern und Diskomoderatoren’ [Forms of mediation of dance music in events – A Survey of young people, musicians and disco presenters ], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Sychra, A. 1959. Estetika Dvořákovy symfonické tvorby [The aesthetics of Dvořák's symphonic works] (Praha, Státní nakl. krásné literatury, hudby a umění)Google Scholar
Szabolcsi, B. 1959. Bausteine zu einer Geschichte der Melodie [Building blocks for a history of melody] [orig. A melódia története. Vázlatok a zenei stílus múltjából, Budapest 1957] (Budapest, Corvina) (orig. Zeneműkiadó Vállalatfalvi)Google Scholar
Szabolcsi, B. 1966. ‘A zenei köznyelv problémái’ [On matters of musical vernacular], Magyar Zene, 5, pp. 451–68Google Scholar
Szemere, A. 1979. ‘A sematizmus “vívmánya”: a szocialista realista operetta’ [The ‘achievement’ of sematism: the socialist realist operetta], in Zenetudományi Dolgozatok 79, ed. Domokos, M. and Berlász, M. (Budapest, MTA Zenetudományi Intézete)Google Scholar
Szemere, A. 1983. ‘Some institutional aspects of pop and rock in Hungary’, Popular Music, 1/3, pp. 121–42CrossRefGoogle Scholar
Szemere, A. 1984. ‘Elméletek, Programoka Popzenekutatásban’ [Theories and programmes in popular music research], Magyar Zene, 25, pp. 179–84Google Scholar
Szemere, A. 1985a. ‘Das Petöfi-Theater ein Musical-Theater?’ [The Petöfi Theater a musical theater?], Beiträge zur Musikwissenschaft, 27/3–4, pp. 295302Google Scholar
Szemere, A. 1985b. ‘On avantgarde-rock in Hungary’, in Popular Music Perspectives 2, ed. Horn, D. (Exeter, International Association for the Study of Popular Music), pp. 183–6Google Scholar
Szemere, A. 1985c. ‘Pop music in Hungary’, Communication Research, 12/3, pp. 401–11CrossRefGoogle Scholar
Szemere, A. 1992. ‘The politics of marginality: a rock musical subculture in socialist Hungary in the early 1980s’, in Rockin’ the Boat: Mass Music and Mass Movements, ed. Garofalo, R. (Boston, MA, South End Press), pp. 93114Google Scholar
Szeverényi, E. 1980. ‘A Dália. Magyar jazz 1962–1964’ [The Dália. Hungarian Jazz 1962–1964], in Zenetudományi Dolgozatok 1980, ed. Melinda, B. and Domokos, M. (Budapest, MTA Zenetudományi Intézete), pp. 335–44Google Scholar
Szeverényi, E. 1981. ‘Folk-mozgalom Magyarországon’ [Folk movement in Hungary], in Zenetudományi Dolgozatok 1981, ed. Melinda, B. and Domokos, M. (Budapest, MTA Zenetudományi Intézete), pp. 161–72Google Scholar
Szeverényi, E. 1985. ‘Musikalischer Geschmack und Musikschaffen’ [Musical taste and music creation], Beiträge zur Musikwissenschaft, 27/3–4, pp. 317–22Google Scholar
Tagg, P. 1979. Kojak. 50 Seconds of Television Music. Toward the Analysis of Affect in Popular Music (Göteborg, Studies from the Department of Musicology, University of Gothenborg)Google Scholar
Tokaji, A. 1981. Das Massenlied in Ungarn, 19451956: Geschichte und Analyse [The mass song in Hungary, 1945–1956: History and Analysis] (Budapest, Zeneműkiadó)Google Scholar
Tokaji, A. 1983. Mozgalom és hivatal: tömegdal Magyarországon 19451956 [Movement and office: mass song in Hungary 1945–1956] (Budapest, Zeneműkiadó)Google Scholar
Tokaji, A. 1985. ‘Leftist Political Songs in Hungary Before and After 1948’, in Popular Music Perspectives 2, ed. Horn, D. (Exeter, International Association for the Study of Popular Music), pp. 307–16Google Scholar
Troitsky, A. 1987. Back in the USSR: The True Story of Rock in Russia (London, Omnibus Press)Google Scholar
Vater, R. 1987. Visualisierung von Rockmusik – Untersuchungen zu einem neuen Medium anhand ausgewählter Video-Produktionen der Fernsehsendungen KLIK [Visualization of rock music – Investigations into a new medium on the basis of selected video productions of the television programs KLIK] (Berlin, Forschungszentrum populäre Musik)Google Scholar
Vaughan, J.C. 1973. Soviet Socialist Realism. Origins and Theory (London, Palgrave Macmillan)Google Scholar
Vitányi, I. 1965. A könnyű műfaj [The light genre] (Budapest, Zeneműkiadó)Google Scholar
Vitányi, I. 1977. The methods of general cultural educational research (Budapest, Institute for Culture)Google Scholar
Voos, G. 1985a. Fanpost der Gruppe ‘Silly’. Analyse zum sozialen Gebrauch von Rockmusik [Fan mail of the group ‘Silly’. Analysis of the social use of rock music] (Berlin, Komitee für Unterhaltungskunst)Google Scholar
Voos, G. 1985b. ‘Rockmusik im sozialen Gebrauch Jugendlicher – eine Analyse der Fanpost der DDR-Rockgruppe Silly’ [Rock music in the social use of young people – An analysis of the fan mail of the GDR Rock Group Silly], PhD dissertation (Berlin, Humboldt-Universität)Google Scholar
Wagner, J. 1988. Vom gestalteten Titel zum VIDEO clip [From designed title to VIDEO clip] (Berlin, Komitee für Unterhaltungskunst)Google Scholar
Werkmeister, C. 2020. Jugendkultur im ‘punkigsten Land der Welt’. Inoffizielle Musikszenen und staatliche Kulturpolitik in der späten Sowjetunion, 1975–1991 [Youth culture in the ‘punkest country in the world’. Unofficial music scenes and state cultural policy in the late Soviet Union, 1975–1991] (Wiesbaden, Harrassowitz)Google Scholar
Wicke, P. 1975. ‘Versuch über Popmusik’ [Attempt on pop music], Beiträge zur Musikwissenschaft, 15/4, pp. 243–55Google Scholar
Wicke, P. 1978. ‘‘Licht in das Dunkel՚ – Popmusik in der Analyse’ [‘Licht in das Dunkel’ – Pop music in analysis], Beiträge zur Musikwissenschaft, 18/1, pp. 315Google Scholar
Wicke, P. 1980. ‘Ein methodologischer Versuch über musikalische Massenkultur’ [A methodological attempt on musical mass culture], Wissenschaftliche Zeitschrift der Humboldt-Universität, Gesellschaftswissenschaftliche Reihe, 1, pp. 1226Google Scholar
Wicke, P. 1982. ‘Rock Music. A musical-aesthetic study’, in Popular Music 2 – Theory and Method, ed. Middleton, R. and Horn, D. (Cambridge, Cambridge University Press), pp. 219–44Google Scholar
Wicke, P. 1983a. ‘Pokus o teorii populárni hudby’ [An attempt at a theory of popular music], Opus musicum, 1/8, pp. 225–35Google Scholar
Wicke, P. 1983b. Versuch zu einer Theorie der populären Musik [A theory of popular music. An attempt] (Berlin, Komitee für Unterhaltungskunst)Google Scholar
Wicke, P. 1984. ‘Populäre Musik als Problem der Musikhistoriographie’ [Popular music as a problem of music historiography], Beiträge zur Musikwissenschaft, 26: 3–4, pp. 200–14Google Scholar
Wicke, P. 1985a. ‘Popularity in music. Some aspects of a historical materialist theory for popular music’, in Popular Music Perspectives 2, ed. Horn, D. (Exeter, International Association for the Study of Popular Music), pp. 4752Google Scholar
Wicke, P. 1985b. ‘Sentimentality and high pathos: popular music in fascist Germany’, in Popular Music 5 – Continuity and Change, ed. Horn, D. and Middleton, R. (Cambridge, Cambridge University Press), pp. 149–59Google Scholar
Wicke, P. 1987a. Anatomie des Rock [The anatomy of rock] (Leipzig, Deutscher Verlag für Musik)Google Scholar
Wicke, P. 1987b. Populäre Musik – Begriff und Konzept [Popular music – term and concept] (Berlin, Komitee für Unterhaltungskunst)Google Scholar
Wicke, P. 1987c. Rockmusik zur Ästhetik und Soziologie eines Massenmediums [Rock Music on the aesthetics and sociology of a Mass Medium] (Leipzig, Reclam)Google Scholar
Wicke, P. 1989. ‘Popvideos – Videoclip. Geschichte eines Mediums’ (Video clips. History of a medium). Neues Leben, 35/12, pp. 218Google Scholar
Wicke, P. 1990a. ‘Meaning production through popular music’, Canadian University Music Review/Revue de musique des universitiés canadienne, 2, pp. 137–57CrossRefGoogle Scholar
Wicke, P. 1990b. Rock Music: Culture – Aesthetics – Sociology (Cambridge, Cambridge University Press)CrossRefGoogle Scholar
Wicke, P. 1992. ‘The times they are a-changin’: rock music and political change in east Germany’, in Rockin’ the Boat. Mass Music & Mass Movements, ed. Garofalo, R. (Boston, MA, South End Press), pp. 8193Google Scholar
Wicke, P. 1996a. ‘Pop music in the GDR between conformity and resistance’, in Changing Identities in Germany, ed. Gerber, M. and Woods, R. (Lanham, MD, University Press of America), pp. 2537Google Scholar
Wicke, P. 1996b. ‘Popular music and processes of social tranformation: the case of rock music in former East Germany’, in Music in Europe, ed. Rutten, P. (Brussels, European Music Office/European Commisson Directorate General X), pp. 7784Google Scholar
Wicke, P. 2013. ‘Popmusik in der Theorie. Aspekte einer problematischen Beziehung’ [Pop music in theory. Aspects of a problematic relationship], in Texte zur Theorie des Pop, ed. Goer, C., Greif, S. and Jacke, C. (Stuttgart, Reclam), pp. 270–90Google Scholar
Wicke, P. 2015. ‘The sonic. sound concepts of popular culture’, in Sound as Popular Culture. A Research Companion, ed. Papenburg, J.G. and Schulze, H. (Cambridge, MA, MIT Press), pp. 2341Google Scholar
Wicke, P. 2017. ‘Looking east: popular music studies between theory and practice’, in Perspectives on German Popular Music, ed. Ahlers, M. and Jacke, C. (New York, Routledge), pp. 3353Google Scholar
Wicke, P., and Ziegenrücker, W. 1985. Handbuch der populären [Handbook of Popular Music] (Leipzig/Mainz, Deutscher Verlag für Musik/Schott)Google Scholar
Wickström, D.-E. 2021. ‘Rocking the academy? Two Cold-War careers and the emergence of popular music studies and higher popular music education in Germany: an interview with Peter Wicke and Udo Dahmen’, in Made in Germany. Studies in Popular Music, ed. Seibt, O., Ringsmut, M., and Wickström, D.-E. (Routledge, New York), pp. 116Google Scholar
Zhdanov, A.A. 1948. ‘Вопросы советской музыкальной культуры’ [Issues of Soviet Musical Culture], in Вступительная речь и выступление на совещании деятелей советской музыки в ЦК ВКП(б) в январе 1948 г. [Introductory speech and speech at the meeting of Soviet musicians in the Central Committee of the CPSU(b) in January 1948] (Москва, Государственное издательство политической литературы Госполитиздат)Google Scholar
Zocher, P. 1990. Schwarzes Leder – Eine methodologische Studie zur visuellen Kommunikation in den Jugendkulturen [Black leather – A methodological study of visual communication in the youth cultures] (Berlin, Forschungszentrum populäre Musik)Google Scholar