Blixa Bargeld and Einstürzende Neubauten: German Experimental Music

Zusatztext '... this book is an important contribution to the research of German popular music.' Popular Music Informationen zum Autor Jennifer Shryane completed her first degree in English and History at the University of Cardiff in 1968. She went on to gain the Post-graduate teaching qualification at Kings, University of London, focussing on Drama and Theatre and taught until 2005. She gained her MA in Performing Arts at Liverpool University and completed her PhD in 2009. Klappentext Jennifer Shryane provides a much-needed analysis of Einstÿrzende Neubauten's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. The group have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined. Zusammenfassung The Einsturzende Neubauten's group is one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. This title provides an analysis of the group's important place in popular/experimental music history. Inhaltsverzeichnis Part I Context for Destruction; prologue1 Prologue: Being There/Not Being There; Chapter 1 Architecture, Angels and Utopia; Chapter 2 Kattrin's Drum: Germany & Music - Identity, Politics & Memory; Chapter 3 Free to Make Noise; Chapter 4 Demonic Berlin; Part II Performing Destruction; prologue2 Prologue: 'They were always quoting Artaud'; Chapter 5 Strategies against the Body; Chapter 6 Strategies against the Corner; Chapter 7 Strategies against the Voice; Chapter 8 Strategies against the Scream; Chapter 9 Strategies against the Text; Part III Performing Reconstruction; prologue3 Prologue: 'We know we have witnesses'; Chapter 10 'A Small Utopia'; conclusion Conclusion 'To infect others' Einstürzende Neubauten Warten auf die Barbaren Jo Mitchell's Reconstruction of Concerto for Voice and Machinery 'She is Happy like Roadworks'; ...

'... this book is an important contribution to the research of German popular music.' Popular Music

Autorentext
Jennifer Shryane completed her first degree in English and History at the University of Cardiff in 1968. She went on to gain the Post-graduate teaching qualification at Kings, University of London, focussing on Drama and Theatre and taught until 2005. She gained her MA in Performing Arts at Liverpool University and completed her PhD in 2009.

Klappentext
Jennifer Shryane provides a much-needed analysis of Einstÿrzende Neubauten's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. The group have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.

Zusammenfassung
The Einsturzende Neubauten's group is one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. This title provides an analysis of the group's important place in popular/experimental music history.

Inhalt
Part I Context for Destruction; prologue1 Prologue: Being There/Not Being There; Chapter 1 Architecture, Angels and Utopia; Chapter 2 Kattrin's Drum: Germany & Music - Identity, Politics & Memory; Chapter 3 Free to Make Noise; Chapter 4 Demonic Berlin; Part II Performing Destruction; prologue2 Prologue: 'They were always quoting Artaud'; Chapter 5 Strategies against the Body; Chapter 6 Strategies against the Corner; Chapter 7 Strategies against the Voice; Chapter 8 Strategies against the Scream; Chapter 9 Strategies against the Text; Part III Performing Reconstruction; prologue3 Prologue: 'We know we have witnesses'; Chapter 10 'A Small Utopia'; conclusion Conclusion 'To infect others' Einstürzende Neubauten Warten auf die Barbaren Jo Mitchell's Reconstruction of Concerto for Voice and Machinery 'She is Happy like Roadworks';

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