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Music and the New Global CultureFrom the Great Exhibitions to the Jazz Age$
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Harry Liebersohn

Print publication date: 2019

Print ISBN-13: 9780226621265

Published to Chicago Scholarship Online: May 2020

DOI: 10.7208/chicago/9780226649306.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 24 September 2021

Commerce versus Culture

Commerce versus Culture

Chapter:
(p.237) 10 Commerce versus Culture
Source:
Music and the New Global Culture
Author(s):

Harry Liebersohn

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226649306.003.0011

Berlin became the center of the German phonograph industry. Odeon and Beka emerged as strong overseas record companies; the Carl Lindström Company became the industry giant that by 1914 had swallowed up these and other competitors. Germans understood the importance of cross-cultural communication for business, and this was an important reason for their success in global markets. The trade journal Phonographische Zeitschrift proclaimed its allegiance to high culture, a contrast to the indifference of its American counterpart, Talking Machine World. The German journal made space for Max Chop, a classically trained music critic, whose columns included comments on recordings of non-European music. He compared its strange effects to the contemporaneous challenges to harmony in the music of Richard Strauss, viewing both the foreign and domestic deviations as symptoms of musical decadence. Overall, the German and American comparison reveals educated German respect for high culture, and openness to its musical expressions from non-European countries, while Americans were receptive to a wider range of popular cultural expressions.

Keywords:   Carl Lindström Company, Beka Record Company, Odeon Records, Phonographische Zeitschrift, Max Chop, Richard Strauss

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