Reports und Statements from Participants
Excerpts from conference reports prepared by students as part of the course Production of Popular Music 1930–50, held in summer semester 2025 at Anton Bruckner University Linz (led by Prof. Carolin Stahrenberg).
„One of the key take-away messages is, that even under fascist regimes, the music industry found ways to survive and adapt. Musicians, composers, producers, and institutions worked creatively within and sometimes around the rules to keep making music, that connected with people. Also, popular music in this time wasn’t isolated—it was part of wider international networks. Despite the nationalist ideologies of the ‚Nazi‘ and ‚Austrofascist‘ governments, many styles (like jazz, swing, and international dance music) continued to influence local music production. This conference made clear, that the story of popular music in mid-20-century Central Europe is one of resilience, transformation and international exchange.“ (Patrick Scheiterbauer, PBA Klarinette, 3. Sem.)
„Anstelle einfacher Grenzziehung traten gegliederte Perspektiven auf, welche die Ambiguität, Codierung und künstlerischen Spielräume in autoritären Systemen veranschaulichten. Dadurch zeigte sich, dass populäre Musik nicht nur ideologisch, sondern auch als Raum intermedialer Übersetzung, ästhetischer Selbstbehauptung und kultureller Aushandlung zu verstehen ist.“ (Veronika Lager, Bachelorstudium Lehramt, 8. Sem.)
„By combining archival research, interdisciplinary methodologies and live artistic performances, the event clearly highlighted the resilience, adaptability and transnational dynamics of popular music production despite censorship, propaganda, and political control. The diversity of sessions, ranging from sheet music media, singing and dance music traditions, to recording industry, film music, and international publishing networks, illuminated the ways in which popular music served as both a site of ideological negotiations and cultural continuity.“ (Elena Zakrajšek Janevski, KBA Flöte, 6. Sem.)
„Die Beiträge zeigten deutlich, dass weder populäre Musik noch ihre Produktion, Distribution oder Rezeption in der NS-Zeit als homogen oder vollständig kontrolliert verstanden werden können. Vielmehr prägten Ambivalenz, Zwischenräume und individuelle Handlungsstrategien das musikalische Feld. Damit leistete die Tagung einen wichtigen Beitrag zur differenzierten Aufarbeitung populärer Musikgeschichte im 20. Jahrhundert.“ (Willy Widauer, Bachelorstudium KBA/PBA Posaune, 8.Sem.)
“Through interdisciplinary and archival perspectives, the event challenged simplified narratives and showcased the diversity of styles, strategies, and actors involved. It opened new ways in research and emphasized the lasting revelance of popular music in understanding historical and political change.“ (Isabel Nikles, Bachelorstudium Lehramt, 8. Sem.)