Luca Behrendt
Rock music in the German Democratic Republic (GDR). Musical characteristics and social background of GDR art rock
In the late 1960s and early 1970s, a new genre of rock music first developed in Great Britain, which is internationally known as progressive rock and often referred to as art rock in German-speaking countries. The genre emerged from the fusion of rock music with influences from pop music, European art music, jazz, and folk music, and was characterized by, among other things, increasing complexity and diversity in the instruments used, in terms of harmony and rhythm, as well as the length, form, and lyrics of songs. British bands such as King Crimson, Emerson, Lake & Palmer, Genesis, and Yes are considered pioneers and leading representatives of the genre; however, art rock quickly spread to the US, Western and Eastern Europe, and around the world. Art rock was also successful in the GDR. For musicians, especially in the field of rock and pop music, the GDR represented an uncommon artistic creative space due to the strong, politically motivated state influence and the accompanying restrictions. As part of the dissertation project, the musical profile of GDR art rock will be assessed by examining bands that were significant for the genre, as well as the cultural and socio-political circumstances of its emergence and development.
Ansgar Heyer
Changing Gears – >Changing Gears - On the perception and production of metric modulations
In the case of tempo changes in music, it is possible to make these changes by reinterpreting the previous metre. Here, a certain pulse level within the metric hierarchy becomes a pivot, i.e. a pulse level of reinterpretation, as it can be interpreted in both the old and the new tempo. In this way, for example, a new tempo can be derived from the old one or an existing meter can be re-contextualised.
Due to these similarities to the technique of tonal modulation, the term metric modulation is used for this. For example, the quarter notes within a 4/4-time signature can be reinterpreted as the new dotted quarter notes within a 6/8-time signature, whereby the perceived pulse level remains the same speed, but the new eighth notes are 33% faster than in the old tempo.
Despite their prevalence in pop, rock and jazz, among others, metric modulations are an area little researched by musicology. This dissertation aims to close this gap and at the same time contribute to current issues in rhythm research. For this purpose, after an initial theoretical systematisation of metric modulations and their application, the general conditions and limitations of their perception and then the effects in relation to concepts such as groove or PLUMM are empirically examined. In a final step, the production of metric modulation is investigated with regard to further aspects such as microtiming.
Janne Schneider
Alltagsmusik in Leipzig 1880 bis 1939 (Everyday Music in Leipzig 1880 to 1939)
Gefördert durch ein Graduiertenstipendium der Hochschule für Musik Franz Liszt Weimar
Around 1900, Leipzig was characterised by enormous population growth, industrialisation and the emergence of mass media. The First World War and its political aftermath, as well as technological innovations such as radio and social conflicts such as the women's and labour movements, changed people's lives and, according to my thesis, their everyday musical practices.
By analysing historical newspapers, telephone directories, city guides, periodicals and other archive sources, I hope to gain insights into the legal and political conditions, locations, repertoires, per-formers and audiences of 'light entertainment'. The aim of my work is to fill a gap in the urban history of Leipzig and to make a contribution to the study of popular culture in small and medium-sized towns.