Martin Rempe – författare

Despite regionalism having developed into a global phenomenon, the European Union (EU) is still more often than not presented as the ’role-model of regionalism’ whose institutional designs and norms are adopted by other regional actors and organizations as part of a rather passive ’downloading process’. Reaching beyond such a Eurocentric perception, Mapping Agency provides an empirically rich ’African perspective’ on regionalisms in Sub-Saharan Africa. It adopts an actor-centred approach but departs from a rather simplified understanding of agency as exerting power and instead scrutinizes to what extent actors actually participate in or are excluded from processes of regionalism. The value of this volume derives from the inclusion of historical dimensions, its open multi-actor approach to both formal and informal processes and its comparative perspective within but also beyond Sub-Saharan Africa. The chapters offer a multifaceted picture of agency beyond disciplinary divides where the EU is one actor amongst many and where local, national, regional and global state and non-state actors shape - and sometimes break - processes of regionalisms in Sub-Saharan Africa.

Despite regionalism having developed into a global phenomenon, the European Union (EU) is still more often than not presented as the ’role-model of regionalism’ whose institutional designs and norms are adopted by other regional actors and organizations as part of a rather passive ’downloading process’. Reaching beyond such a Eurocentric perception, Mapping Agency provides an empirically rich ’African perspective’ on regionalisms in Sub-Saharan Africa. It adopts an actor-centred approach but departs from a rather simplified understanding of agency as exerting power and instead scrutinizes to what extent actors actually participate in or are excluded from processes of regionalism. The value of this volume derives from the inclusion of historical dimensions, its open multi-actor approach to both formal and informal processes and its comparative perspective within but also beyond Sub-Saharan Africa. The chapters offer a multifaceted picture of agency beyond disciplinary divides where the EU is one actor amongst many and where local, national, regional and global state and non-state actors shape - and sometimes break - processes of regionalisms in Sub-Saharan Africa.

Despite regionalism having developed into a global phenomenon, the European Union (EU) is still more often than not presented as the ’role-model of regionalism’ whose institutional designs and norms are adopted by other regional actors and organizations as part of a rather passive ’downloading process’. Reaching beyond such a Eurocentric perception, Mapping Agency provides an empirically rich ’African perspective’ on regionalisms in Sub-Saharan Africa. It adopts an actor-centred approach but departs from a rather simplified understanding of agency as exerting power and instead scrutinizes to what extent actors actually participate in or are excluded from processes of regionalism. The value of this volume derives from the inclusion of historical dimensions, its open multi-actor approach to both formal and informal processes and its comparative perspective within but also beyond Sub-Saharan Africa. The chapters offer a multifaceted picture of agency beyond disciplinary divides where the EU is one actor amongst many and where local, national, regional and global state and non-state actors shape - and sometimes break - processes of regionalisms in Sub-Saharan Africa.

Despite regionalism having developed into a global phenomenon, the European Union (EU) is still more often than not presented as the ’role-model of regionalism’ whose institutional designs and norms are adopted by other regional actors and organizations as part of a rather passive ’downloading process’. Reaching beyond such a Eurocentric perception, Mapping Agency provides an empirically rich ’African perspective’ on regionalisms in Sub-Saharan Africa. It adopts an actor-centred approach but departs from a rather simplified understanding of agency as exerting power and instead scrutinizes to what extent actors actually participate in or are excluded from processes of regionalism. The value of this volume derives from the inclusion of historical dimensions, its open multi-actor approach to both formal and informal processes and its comparative perspective within but also beyond Sub-Saharan Africa. The chapters offer a multifaceted picture of agency beyond disciplinary divides where the EU is one actor amongst many and where local, national, regional and global state and non-state actors shape - and sometimes break - processes of regionalisms in Sub-Saharan Africa.

Music has gained the increasing attention of historians. Research has branched out to explore music-related topics, including creative labor, economic histories of music production, the social and political uses of music, and musical globalization. This handbook both covers the history of music in Europe and probes its role for the making of Europe during a "long" twentieth century. It offers concise guidance to key historical trends as well as the most important research on central topics within the field.

How did the way people looked at music affect the interactions among different groups and individuals in the course of the 20th century? This volume presents a number of case examples from various musical genres and thus offers many insights into both general and genre-specific figurations of musical communication. This ranges from direct live acts to political productions, which cause inclusive and exclusive mechanisms to become active in communication processes taking place at various levels. The contributions to this volume show how, and why, opportunities for communication arise during musical activities which can lead to either complete harmony or fierce dissonance.

Bis heute gilt Deutschland als gelobtes Land der Musik. Herausragende Komponisten, gefeierte Interpreten und berühmte Orchester üben international eine große Anziehungskraft aus. Auf ihnen ruht zugleich das Selbstverständnis der Deutschen als einer besonders musikalischen Kulturnation. Das Fundament dieser Reputation bildeten seit dem 19. Jahrhundert Musiker und Musikerinnen in ihrer breiten Masse. Sie saßen in Orchestergräben oder spielten in Ensembles zum Tanz auf, gaben mit der Militärkapelle ein Gartenkonzert oder sorgten im Stummfilmkino für die musikalische Untermalung. Martin Rempe spürt ihren Lebens- und Arbeitswelten zwischen Kunst, Spiel und Arbeit nach. Mit dem detaillierten Porträt der Berufsgruppe in ihrem Streben nach sozialem Aufstieg und gesellschaftlicher Anerkennung wird erstmals eine Musikgeschichte ›von unten‹ vorgelegt, die das deutsche Musikleben im 19. und 20. Jahrhundert in einem neuen Licht erscheinen lässt.