ABSTRACT
It is, of course, nonsensical to compile a narrative tracing the origins of electronic (dance) music back to Germany. The international influences, the diversity of styles, the global movements of the key protagonists, together with the technology itself, are self-evident. Yet forging Germany-centric narratives linking Stockhausen to Miles Davis, Kraftwerk to Africa Bambaataa, and Detroit techno or NWDR Studio to dub is apparently the pastime of Germany’s ‘Little electronic Musicians’ Favorites’ (Hindemith, 1930). Although easy to deconstruct, the apparently official imprimatur of the label ‘Elektronische Musik aus Deutschland’ (electronic music from Germany [EMAD], cf. Goethe Institut) is invoked, with great regularity by cultural players, musicians, music journalists and academics (cf. N.N., 2000).
