Waart, Edo de. 56 Wachmann, Eduard 56


Wicel, Georg. See Witzel, Georg. Wich, Günther



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Wicel, Georg.


See Witzel, Georg.

Wich, Günther


(b Bamberg, 23 May 1928). German conductor. He studied the flute with Gustav Scheck at Freiburg, 1948–52, and later turned to conducting. His début was in 1952 at the Städtisches Theater in Freiburg, where he became chief opera conductor and remained until 1959. Thereafter he was successively appointed opera director at Graz from 1959; Generalmusikdirector at Hanover from 1961, and at the Deutsche Oper am Rhein, Düsseldorf/Duisburg, from 1965 to 1980. While at Hanover he conducted the first production of Schoenberg’s three one-act operas (Erwartung, Die glückliche Hand, Von heute auf morgen) as a triple bill in 1963, later taking it to the Venice Biennale. He was also professor of conducting at the Folkwang Hochschule, Essen, 1969–73, and in 1982 became a professor at the Musikhochschule, Würzburg, a post he held until 1994. His work at Düsseldorf was distinguished by his performances of contemporary operas, notably Zimmermann’s Die Soldaten, in addition to those of Berg and Schoenberg, and he toured with the company to leading European festivals (including the 1972 Edinburgh Festival with the British première of Die Soldaten). A frequent guest conductor at other opera houses, he made his Covent Garden début in 1968 with Die Zauberflöte, and conducted major orchestras in many European countries and in Japan. His repertory was wide-ranging, from Baroque music, which he conducted with the Capella Coloniensis, through the standard repertory and the Second Viennese School to contemporary works. He was an expressive conductor in the Furtwängler tradition, but with his own generation’s feeling for clarity and transparence (especially in Wagner). His recordings include works by Corelli, Handel, Mozart and Pfitzner.

WOLFRAM SCHWINGER/MARTIN ELSTE


Wichello, Abiell.


See Whichello, Abiell.

Wicke, Peter


(b Zwickau, 17 June 1951). German musicologist. He completed his first degree in musicology in 1974 at the Humboldt University, Berlin, where he worked as an assistant and took the doctorate in 1980. In 1983 he founded the Forschungszentrum Populärer Musik at the Humboldt University and completed the DSc in 1986. In 1988 he joined the faculty of Carlton University, Ottawa as an adjunct professor and returned to the Humboldt University that same year to fill the post of chief research assistant in musicology. He was appointed lecturer at the university in 1990 and professor of popular music in 1993. He was a member of the editorial staff for Beiträge für Musikwissenschaft, 1974–84; other professional appointments include president (1985–93) and general secretary (1987–91) of the International Association for the Study of Popular Music, member of the editorial board of Popular Music (from 1990) and Cultural Studies (from 1991), editor-in-chief of Popscriptum (from 1992), adviser on music for the Goethe Institute (from 1992), editor of the series Populäre Musik und Jazz in der Forschung (from 1993) and president of the Kulturpolitische Gesellschaft of the Bundesrepublik.

Wicke was one of the earliest champions of popular music as an area of musicological investigation and his pioneering writings on the aesthetics and sociology of rock music have become standard works in the field. In addition to authoring dictionaries on popular music he has edited and contributed to many other music dictionaries and encyclopedias covering the late 20th-century generally. He has also written on jazz and music historiography. His writings are informed by a historical materialist perspective and are focussed on the relationship between the political culture of a country (particularly the former German Democratic Republic) and its rock music.


WRITINGS


‘Versuch über populäre Musik’, BMw, xvii (1975), 243–55

‘“Licht in das Dunkel”: Popmusik in der Analyse’, BMw, xx (1978), 3–15

with others: Musikgeschichte der Deutschen Demokratischen Republik, 1946–1976 (Berlin, 1979)

‘Rock Music as a Phenomenon of Progressive Mass Culture’, Popular Music Perspectives: Amsterdam 1981, 223–31

‘Strawinsky und der Jazz’, MG, xxxii (1981), 343–8

‘Funktion und Wertform: zu einer marxistischen Ästhetik der Musik’, BMw, xxiv (1982), 83–102

‘Rock Music: a Musical-Aesthetic Study’, Popular Music, ii (1982), 219–43

‘Stil als kommerzielle Kategorie: zum Stilbegriff in der populären Musik’, Stil in der Musik: Brno XVII 1982, 96–100

‘Populäre Musik als Problem der Musikhistoriographie’, BMw, xxvi (1984), 208–13

with others: Musikgeschichte: ein Grundriss (Leipzig, 1984–6)

‘Popularity in Music: some Aspects of a Historical Materialist Theory for Popular Music’, Popular Music Perspectives, ii (1985), 47–51

‘Sentimentality and High Pathos: Popular Music in Fascist Germany’, Popular Music, v (1985), 149–58

ed., with J. Mainka: Wegzeichen: Studien zur Musikwissenschaft (Berlin, 1985) [incl. ‘Von der Aura der technisch produzierten Klanggestalt: zur Asthetik des Pop’, 276–88

Zur Ästhetik und Soziologie des Rock (Habilitationsschrift, Humboldt U., Berlin, 1986)

Anatomie des Rock (Leipzig, 1987)

with W. Ziegenrücker: Lexikon der Popularmusik (Munich, 1987, 2/1989)

Rockmusik: zur Ästhetik und Soziologie eines Massenmediums (Leipzig, 1987; Eng. trans., 1990, as Rock Music: Culture – Aesthetics – Sociology)

with W. Ziegenrücker : Sachlexikon Popularmusik (Mainz, 1987, 3/1997 as Handbuch der populären Musik)

‘Rockmusik: Dimensionen eines Massenmediums’, Weimarer Beiträge, xxxv/6 (1989), 885–903; Eng. trans. as ‘Rock Music: Meaning Production through Popular Music’, Canadian University Music Review, x/2 (1990), 137–57



Bigger Than Life: Rock und Pop in den U.S.A. (Leipzig, 1991)

‘Jazz, Rock und Popmusik im 20. Jahrhundert’, Volks-und Popularmusik in Europa, ed. D. Stockmann (Laaber, 1991) 445–77

with others: Music at the Margins: World Popular Music and Cultural Diversity (Newbury Park, CA, 1991)

‘Populäre Musik als theoretisches Konzept’, PopScriptum, i (Berlin, 1992)

‘The Role of Rock Music in the Political Disintegration of East Germany’, Popular Music and Communication, ed. J. Lull (Newbury Park, CA, 1992), 197–206

‘“The Times They Are A-Changin”: Rock Music and Political Change in East Germany’, Rockin the Boat: Mass Music and Mass Movement, ed. R. Garofalo (Boston, 1992), 81–92



with J. Shepherd: ‘“The Cabaret Is Dead”: Rock Culture as State Enterprise: the Political Organization of Rock in East Germany’, Rock and Popular Music: Politics – Policies – Institutions, ed. T. Benett and others (Boston, 1993), 25–36

Vom Umgang mit Popmusik (Berlin, 1993)

ed., with I. Hanover: Puhdys: Kultband aus dem Osten (Berlin, 1994)

‘Popmusik – Konsumfetischismus oder kulturelles Widerstandspotential’, Pop Music Yesterday, Today, Tomorrow, ed. M. Heuger and M. Prell (Regensburg, 1995), 21–35

‘Pop Music in the GDR between Conformity and Resistance’, Changing Identities in East Germany, ed. M. Gerber and R. Wood (Lanham, NY, 1996)

ed., with L. Müller: Rockmusik und Politik: Analysen, Interviews und Dokumente (Berlin, 1996) [incl. ‘Zwischen Förderung und Reglementierung: Rockmusik im System der DDR-Kulturbürokratie’, 11–27]

‘“Wenn die Musik sich ändert zittern die Mauern der Stadt”, Rockmusik als Medium des politischen Diskurses im DDR-Kulturbetrieb’, Musik und Politik, ed. B. Frevel (Regensburg, 1996)

‘“Let the Sun Shine in your Heart”: was die Musikwissenschaft mit der Love Parade zu tun hat oder Von der diskursiven Konstruktion des Musikalischen’, Mf, l (1997), 421–33

with J. Shepherd: Music and Cultural Theory (Malden, MA, 1997)

Von Mozart zu Madonna: kleine Kulturgeschichte der Popular musik (Leipzig, 1998)




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