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music saved us from going nuts«: Childhood Trauma and the Sound Works of Beiruti Artists of the Civil War Generation Thomas Burkhalter | 205 Music, Affect and Memory Politics in Post-Yugoslav Space Ana Hofman | 235 Zu den Autoren | 259


'n' Roll Werewolves- literarische, mytho- und ikonografi- sche Aspekte der Werwölfe in Popsongs UWE SCHWAGMEIER 89 What is Teutonic? -An Update on the German Question SEAN NYE 113 "The Blood of my Ancestors" - Nostalgia in White-Supremacist Hate Rock KIRSTEN DYCK 131 0 God, the Aftermath- Can Christian Metal Redeern the Heavy Metal Genre in America? MATTHEW STEINBRON 141 Turbo-folk as "Bad Music"- Politics of Musical Valuing SRDAN ATANASOVSKI 157 The Perception of "Evilness" in East German Music in the United States AMYM. PUETT 173 Fan

political significance of music in interna- tional relations have been raised in different disciplines. Political scientists and historians, such as Andrew F. Cooper, Lisa Davenport, Penny von Eschen, Jessica Gienow-Hecht, Simo Mikkonen, Frédéric Ramèl, among others, have tended to emphasize the significance of different types of cultural practices, including music, in international relations by looking at the manifold ways in which these practices and their mediations contribute to public diplomacy and become politically effective (Eschen; Gienow-Hecht, Sound

with simultaneous developments in East Asia. In doing so, I aim to reveal “nonsimultaneous” developments in the different regions of the world where art music was considered relevant in public discourse and awareness. This situation provoked a “time lag” of music-historical narratives, prompting a com- plex entanglement of aesthetic and political ideas in a historical period when glob- alization had become an inescapable framework of artistic practice. The materials discussed in this chapter thus may also contribute to broader questions, which 208 | Christian

an elaborated concept of using culture as a means to promote its values abroad, but not the East, which only relied on propaganda and agitation without deeper ideological considera- tions. However, both US public diplomacy and Soviet propaganda were theoreti- cally founded in academic discourses. In the Western world, political scientists and opinion researchers like Paul Lazarsfeld and Jacques Ellul started this discourse, whereas the State Socialist discourse was rooted in the foundational works of Marxist-Leninist theory. In the latter, and in stark

(Radio Televizija Crne Gore, Radio and Television of Montenegro). The entries of other states in the 2013 contest were selected either directly by such officials or through a national selection process in which juries or the public voted for the winner. The ESC has always been a stage upon which political values have been contested through cultural diplomacy, be it through the whitewashing of authoritarian govern- 302 | Dean Vuletic ments’ international images or the promotion of the rights of sexual minorities. However, the extent to which the public has been

11 The publication Music in Motion. Diversity and Dialogue is part of the ExTra! Exchange Traditions project which is coordinated by the European Music Council (EMC) and funded by the Culture 2000 Programme of the European Union. The main aim of the project is to enhance the exchange of musical traditions existing nowadays in Europe with a special focus on minority and migrant cultures, which form a vital part of the musical diversity in Europe. The ExTra project runs from July 2006 until June 2009 and embraces important political developments in terms of

298 Aspects of Formal and Informal Transmission of Music in the Immigrant Communities from Turkey The two articles about formal and informal transmission of music from Turkey in the Diaspora by Dorit Klebe and Hande Sağlam show very clearly the differences in the two neighbouring countries Germany and Austria which have to do with politics of course. Whereas in Germany, Dorit Klebe can look back on an ongoing integration process in which she herself is one of the protagonists on behalf of the dominant group as a music pedagogue, the Austrian situation is

233 Alenka Barber-Kersovan HOW BALKAN ROCK WENT WEST Political Implications of an Ethno-Wave TITO’S SOCIALISTIC ROCK’N’ROLL The term Balkan Rock1 was originally applied to the once flourishing Yugo Rock. Considering the fact that communist regimes regarded Anglo- American popular music as a ‘carrier of Western values’, and consequently as a direct attack on Marxist ideology (see Pilkington 1994; Rauhut 1996: 239– 240), at first glance the existence of a lively pop music scene in the former Socialistic Federal Republic of Yugoslavia (SFRJ) might seem

Joel Biography”). Beyond these major financial and musical successes, Joel’s greatest achievement has been the popular appeal of his songs and lyrics, which are informed by his background as a child of the working class in the golden era of American prosperity. His desire to “play my music from my experience” (Schruers 242) created an oeuvre that pinpoints integral aspects of the human condition, from love and youthful rebellion to depression, addiction, and suicide. Joel created a platform via his music from which he has the power to influence political and