For the year 2022, the city of Bremen (in cooperation with Bremerhaven) has a lot planned. With many subsidized events and aggressive marketing, the city's (and the region's) musical activities will be promoted and put in the shop window, so to speak, to raise public awareness. Popular music plays an astonishingly large role in this, which of course pleases us. Even in the visual presentation, popular music is given space, on an equal footing with the city's classical music tradition. This is by no means a matter of course... just think, for example, of the "Musikfest Bremen", which is de facto a classical music festival. But as we said: There is reason to hope that in the future the decision-makers and sponsors will cultivate a more open understanding of music worthy of support. Whereby subtitles like the following continue to reveal old thought patterns: "Bremen is inspiring - from high culture to subculture". From our point of view, what is high and what is low culture has to be negotiated again and again... it is best to first choose other terminologies for this.
More information here: https://www.bremen.de/kultur/klangfrisch-2022#/
On June 16, Nico Thom, head of the KKI, was a studio guest on "westendRADIO - Live from the Kulturwerkstatt westend!" in the Bremen-Walle district. The live broadcast, which is aired every 14 days on Thursdays from 8 to 9 p.m., is moderated by Windy Jacob. He works for the Kulturwerkstatt westend and has been creating broadcasts for the Bremen citizens' radio station "Radio Weser.TV" for many years. For an hour, we chatted in a relaxed atmosphere about the Klaus Kuhnke Institute, its history and present, and plans for the future. Nico Thom was allowed to choose the music contributions, all of which he contributed from the KKI archive.
You can listen to the broadcast via this link: westendRADIO_16.06.2022.mp3
Blasphemy? Of course not! Our motto: "A little fun is a must". Which brings us directly to one of the biggest German-language hits: the song of the same name by Roberto Blanco. Everybody knows the piece. The original from 1972 has been covered many times, sometimes even with Roberto Blanco as a guest star. The original video clip of the artist, in which he is shown swimming and bare-chested in the shower, already caused a lot of joy. An early "masterpiece" of the German-language music video tradition, long before MTV, VIVA & Co.
On Thursday, May 26, we are closed for the (public) holiday. What for some is a heavenly holiday, so to speak, is for others an occasion to celebrate the earthly fathers. Since the employees of KKI are fathers and have fathers, we also celebrate the "lords of creation" - moderately, of course. A quick look through our archive database unearths some Ascension Day gems. Here is a small selection:
1) On the one hand there is "Die Himmelfahrt der Galgentoni" - a sad-comic story about a whore who pays her last respects to a man sentenced to the gallows, touchingly performed by the diseuse Gisela May. The piece can be found in the detailed book-/CD-/DVD-box "die may", which was published in 2006 by Bear Family Records in cooperation with the Günter Neumann - Foundation and the Berlin Academy of Arts.
2) On a self-titled CD of the Tiroler Tanzgeiger the "Himmelfahrts Polka" (sic!) is immortalized. The short instrumental piece presents finest folk or dance music from the Zillertal in the instrumentation for first and second violin, harp, diatonic harmonica, double bass and diatonic (East Tyrolean) dulcimer. The CD was released in 1995 by Bogner Records in Austria.
3) The Cologne band (De) Bläck Fööss also dedicates the song "Himmelfahrt" to the holiday of the same name. In it, they celebrate the fact that you don't have to work and can comfortably "make blue" in the Westerwald. The meaningful title of the vinyl album from 1978 is "Mer han 'nen Deckel" (EMI/Electrola).
By the way, we are also closed on Friday, May 27 - and take a bridge day off. Various song titles would also lend themselves to this... "Über sieben Brücken musst Du gehn" (Karat/Peter Maffay)... "Bridge over Troubled Water" (Simon & Garfunkel)... also to be found in our archives.
From now on, our interior will be adorned by a display case. We owe it to the Bremen State Archive, which has bequeathed us the massive and illuminated glass case. An enchanting piece, we think! It offers us the possibility to welcome our guests with changing exhibits, e.g. the "find of the month".
A traditional spring or children's song - with the same melody as "Hänschen klein" by the way - provides us with the appropriate headline: "Alles neu macht der Mai (Everything is new in May)". (Well, not everything, of course, but some things.) At least that could be the motto for us, because today, Friday, May 13 (if that is not a bad omen ;-) we change our name. Until now we were the "Klaus Kuhnke Archive for Popular Music", from today on we are the "Klaus Kuhnke Institute for Popular Music". Our subtitle is "Archive and Research Center at the University of the Arts Bremen". Strictly speaking, we have been an institute at the HfK Bremen since 1992, i.e. for 30 years, only few people knew that. Hence the renaming. And also to make it clear that from now on we want to be more active with our own research projects. With a new name comes a completely new website, namely this one. Have fun browsing!
On May 6, 38 boxes containing approximately 5,000 CD duplicates from our archive holdings were shipped to the Center for Popular Culture and Music (ZPKM) at the University of Freiburg. The colleagues in Freiburg are happy about the increase in their holdings and we are happy about the freed up space in our archive (and the financial compensation). A classic win-win situation.
In May, Ann-Katrin Verzagt joins the KKI team and completes a three-week internship. She is currently training to become a specialist for media and information services (FaMI) at the Bremen State and University Library and is in her second year of training. We are grateful for her participation and are happy to give her an insight into our daily work. FaMI trainees regularly honor us and are always welcome.
As every year since the founding of the Bremen trade fair jazzahead! in 2006, we were again present in 2022. The trade fair with integrated festival, which always takes place at the end of April, has become the largest international industry gathering, bringing together jazz experts (musicians, bands, labels, agencies, country representatives, associations, journalists and academics) from all over the world. In addition to networking with the peer group and discovering new jazz music, collecting records and info materials is a pleasant side effect for the KKI archive. Current jazz from Ukraine, Luxembourg or Bulgaria? We now have the relevant artifacts - which we are very happy about. Oh yes: It should be mentioned, of course, that the spiritus rector of the KKI, Peter Schulze, is the artistic director of jazzahead! and thus we feel connected to this important event in more ways than one. More information about jazzahead! can be found here: https://jazzahead.de
In April, we received the impressive collection of the Bremen media educator Tobias Stalling and transferred it to our holdings. It contains about 5,000 CDs, DVDs and VHS tapes as well as several hundred fanzines, magazines and books. The collection mainly covers the period from 1990 to 2020 and documents the local, national and international punk tradition in great detail. In addition, there is also a lot of sound, image and video material on various styles of popular music, e.g. jazz, hip hop, EDM as well as classic and progressive rock. For example, the complete oeuvre of the British band King Crimson is part of the collection. It is a valuable addition to our archive.
In the course of his life, Mohns Mohnssen from Bremen has amassed an enormous amount of recordings (as well as magazines and books) on the subject of country music. In professional circles, his collection is considered one of the largest of its kind in Europe. In 2020 Mohns Mohnssen passed away due to old age. In his will, he had stipulated that his estate should be passed on to the Klaus Kuhnke Archive. In January/February 2022 the collection of the materials took place. Essentially, it is about 8,000 vinyl records and about 3,000 CDs, mainly with U.S. country music in all its varieties. European variants were also collected by Mohns Mohnssen, as well as associated contextual descriptions, for example a trade journal called "Bluegrass Europe Magazine".
Ulrich Duve, the long-time director of the Klaus Kuhnke Archive, took his well-deserved retirement at the end of 2021. Nico Thom has been his successor in office since January 1, 2022.
Ulrich Duve has guided the fortunes of the archive for 30 years and contributed significantly to the current shape of KKA. Prior to that, he had already been an employee of the archive founded by Klaus Kuhnke, Manfred Miller and Peter Schulze for 5 years. He has thus dedicated almost his entire professional life to KKA, for which he deserves great thanks and recognition. Fortunately, he remains connected to the archive on an honorary basis, so that he will continue to be available with his expertise.
Nico Thom, the new head of the archive and institute, is a musicologist specializing in jazz and popular music. He has more than 15 years of professional experience in research, teaching as well as archive administration and is looking forward to the tasks that now lie ahead of him. "My goal is to work with my three part-time staff members to develop a center for the research and communication of popular music that will make the many treasures from the archive holdings even more visible and audible and secure them for the future - especially through digitization. I would also like to actively research the holdings myself. In addition, I am interested in an intensive exchange with the scientific and artistic community and would like to make the archive materials accessible to a broad public - at the University of the Arts, in Bremen and, of course, far beyond."
The Klaus Kuhnke Institute is dedicated to popular music. But what do we mean by it? Here is a brief attempt at a definition:
Popular music, pop music or simply pop - no matter how you vary it, it remains a non-word. It names everything and nothing. And yet, unfortunately, there is no better term (at the moment). As is well known, the same applies to early, classical or new music, not to mention so-called world music.
Etymologically, "musica popularis" (Latin) is the music of the people or the masses. The first of five criteria of popular music that we apply is therefore the 1) popularity of a music, meaning the degree of its distribution. If a certain form of music is produced and received by many people, it can be considered widespread or popular. This is a purely quantitative criterion.
The second criterion we operate with is the 2) structural nature of a music. If it is a matter of short pieces of music (or songs or tracks) with an average duration of 3-5 minutes (keyword: radio edit) and the musical structural elements are kept simple (e.g. continuous beat, constant tempo, hardly any differences in dynamics, few changes in harmony, singable melody, repeated lyrics, formulaic structure with verse/chorus etc.), we can confidently speak of popular music. Here, a qualitative criterion is applied, in which simplicity is placed above complexity. Conversely, complex music is long pieces of music with changing beats, different tempos, large differences in dynamics, many changes in harmony, melodies with large intervallic leaps or many "intermediate notes", a lot of lyrics with little or no repetition, and a multi-layered structure made up of disparate elements. Typical of popular music is a high degree of improvised parameters. Notation plays only a subordinate role. The structures of popular music are primarily memorized and passed on with the help of recordings or audio and visual media.
Another criterion is the 3) mediality of a music. In principle, every form of historical or contemporary music is (was) medially mediated, because every music uses(s) diverse media, be it instruments, voices or writing systems or forms of notation (e.g. notes written down on stone, wood, papyrus or paper). Music automatons or mechanically playable instruments have also been in use for centuries. At the end of the 19th century, however, the invention or use of electricity brought with it new possibilities for the musically applicable generation and dissemination of sound, which unfolded at the beginning of the 20th century and culminated (for the time being) in electronic communication media such as radio and television. These mass media created the conditions for what is today referred to in the narrower sense as pop music (from the mid-1950s). But the establishment of the feuilleton, i.e., the "culture section" of a newspaper in which, among other things, the latest musical phenomena and events are discussed or reviewed, also contributed significantly to the development of popular music in media terms, because specific music journals and magazines emerged from it, which recorded stylistic changes, provided contextual descriptions and thus influenced the self-image and external image of popular music. In particular, technical progress in musical instruments, music production equipment (studio technology), as well as sound carriers and playback devices, has provided popular music with a sound carpet on which it can present itself in glittering sound garb. With the emergence of genuine music films and music videos, the potential of moving images was also exploited to visualize popular music and thus make it even more interesting and memorable. Since then, it has become much more than just music. It appeals to all the senses and makes use of all media. In doing so, it intertwines them in a special way, mirrors them and offers many points of contact. Popular music is often loud, colorful, garish and at the same time ironic. It can be seen as playful media art that is primarily intended to be fun and entertaining.
Last but not least, the 4) cosmopolitanism of a music is a criterion for us to define popular music. While it is common to locate musical styles, that is, to ascribe to them a concrete local, regional, or national origin, on closer examination such narratives turn out to be identity constructions that only suggest unambiguity. In fact, popular music is world art, that is, a global phenomenon that effortlessly transcends political, geographical, and social boundaries. The complicated processes of the transnational art or music market conceal relatively clear economic organizational structures. A few transnational big players divide up this market, above all the three major labels Sony Music Entertainment, Universal Music Group and Warner Music Group, all of which have their (operational) headquarters in the USA. They manage around three quarters of the popular music traded worldwide. Their widely ramified distribution systems are also used by many "independent labels," which, however, want to maintain the appearance of independence and local/regional/national ties to the outside world. De facto, popular music is always aimed at reaching as many people as possible - all over the globe (keyword: global pop). Its function is, in the truest sense of the word, to move or mobilize masses.
Popular music can be perceived both as a simple invitation to dance and as anti-state agitation. It is neither apolitical nor political per se. Rather, it provides a repertoire of musical or sonic forms into which any content can be inserted. The thematic spectrum ranges from romantic love to political resistance. In this respect, the criterion 5) thematic diversity of a music can be applied. Only if music offers occasions for diverse associations does it have the potential to become popular and find many followers.
It goes without saying that popular music cannot be circumscribed in an all-encompassing way with these five criteria, but it should nevertheless be emphasized in order to prevent possible misunderstandings. We also want to emphasize that these criteria should only be understood as general tendencies. There are, of course, exceptions to the rule or deviations from the normal distribution. We do not even want to start with terms or pairs of terms such as unpopular pop music, popular classical music, entertainment music, crossover, light music, commercial music or similar at this point.
The archive in numbers:
8 archive rooms
1 external storage room
300 square meters total area
150,000 sound carriers:
> 100,000 vinyl records
> 45,000 CDS
> 5,000 shellac records, tapes, cassettes, mini-discs, etc.
2,000 DVDs and VHS tapes
10,000 reference books
170 periodicals (trade journals and magazines)
Countless collections of loose visual and written material as well as memorabilia
1 central server with 1,000 music TV programs and filmic music documentaries
At its core, the Klaus Kuhnke Institute was and is an archive for popular music. All forms or styles of popular music were and are collected, without exceptions. The spectrum ranges from German folk, children's and workers' songs of the 19th century to U.S. blues, jazz and country music from the first half of the 20th century to all varieties of European rock, pop, hip-hop or techno music from the second half of the 20th century. But also current punk, reggae, soul or metal music can be found in our collections. In addition, we have so-called world music in our archives, i.e. music that is popular outside the so-called West and in which traces of a certain region and/or ethnicity are ear-catching, e.g. music from India, West Africa, East Asia or South America. Last but not least, German-language Schlager are just as much a part of our collection profile as French-language chansons, Italian canzones or English-language musicals. Also so-called popular classical music alla Luciano Pavarotti, André Rieu or Richard Clayderman can be found here. In short: We collect almost everything except what is commonly called canonized classical European art music - for that the music library in our house (UA Bremen) is responsible.
Nevertheless, we have collection priorities that came about more or less by chance, since we were dependent on donations in kind from external collectors from the very beginning. Of course, we had no influence on what was collected by these private persons. Especially well covered are the styles Blues, Jazz and Country as well as Classic and Progressive Rock, especially from the Anglo-Saxon area. Of course, popular music from German-speaking countries is of particular interest to us. Materials on national (Germany), regional (Northern Germany) as well as local (Bremen) music are preferentially archived by us.
We collect all types of media. In addition to common sound carrier formats such as shellac records, vinyl records, audio tapes, sound foils, cassettes, CDs, mini-discs or MP3 files, our holdings also include audiovisual media formats such as VHS tapes, DVDs or MP4 files. In addition, we house written and visual material of all kinds, i.e. books, journals, magazines, fanzines, info brochures, broadcasting manuscripts, flyers, sheet music and calendars, as well as some posters, photos, graphics and even paintings.
The Klaus Kuhnke Institute is both an archive and a research center for popular music. You can contact us if you are looking for materials for school projects, academic qualification work (seminar, bachelor, master, and doctoral theses) or professional research projects. We also serve citizens of Bremen, tourists and journalists, as long as our work capacity allows it and the requests do not exceed a certain workload, because unfortunately our human and temporal resources are limited.
The relatively new institute designation in our name is intended to make it clear that we will henceforth be conducting more independent research. On the one hand, we want to continue the legacy of the archive's founders, who did pioneering work in the field of popular music research, and on the other hand, we want to actively research our overflowing source holdings in order to systematize them and make them suitable for further research. Furthermore, we see ourselves as a scientific institution, which is obliged to participate in the scientific and public discourse with its expertise. Concrete research projects on self-imposed topics are planned, the results of which will be presented in the form of lectures, conferences, exhibitions as well as our own publications - partly financed by third-party funds. In this way, we want to successively develop the KKI into a center for the research and mediation of popular music. The institutional framework for this is in place.
Our archive primarily houses donated collections from private individuals (we ourselves have limited resources for targeted acquisitions). These collections vary in size. Only a few larger collections and their respective donors are listed here. In addition, we regularly receive small donations which we greatly appreciate, but whose generous donors we cannot list in detail because there are too many of them and the relevant information is partly not (or no longer) available. Here is a small selection of people who have entrusted us with their private collections:
Wolfgang Frickenhaus (deceased, singer as well as managing director and producer of the Dortmund publishing house/record label "pläne")
Vinyl records, CDs and literature from the left-wing political repertoire of the pläne publishing house / label; songwriters such as Hannes Wader as well as world music
Holm Günther (born 1956, politician and former mayor of the city of Crimmitschau/Thuringia)
Large James Last collection; all of the artist's recordings (especially records) as well as numerous books, newspaper articles and memorabilia on the subject of James Last
Günter R. Meier (1943-?, deceased, financial administrator, private collector and semi-professional guitarist from Bremen)
Vinyl records, CDs, DVDs and books; focus: the electric guitar in jazz (but also in blues and rock)
Günter R. Meier in front of his collection in 2010
Mohns Mohnssen (1937-2021, accountant, nurse and private collector from Bremen)
Focus: Country Music; circa 8,000 vinyl records and 3,000 CDs and magazines
Raymond Pollex (deceased, private collector from Hamburg, no occupation given)
Approximately 7,000 vinyl LPs and singles; focus: 1960s and 70s, especially beat, progressive rock and krautrock
Hans-Henning Rabe (deceased, music editor at Saarländischer Rundfunk in Saarbrücken)
Approximately 2,000 rock and jazz albums on vinyl
Tobias Stalling (media educator from Bremen)
Focus: local, national and international punk and post-punk tradition in the period from 1990 to 2020; approx. 5,000 CDs, DVDs and VHS tapes as well as several hundred fanzines, magazines and books; some material on jazz, hip-hop, electronic dance music as well as classic and progressive rock (e.g. complete record collection of the band King Crimson)
Werner Voss (1941-2013, administrator and radio host with his own show called "Rock 'n' Roll Museum" from 1974-2013)
Focus: 1940s-1960s, especially rock 'n' roll and specifically Hamburg Star Club; recordings (especially single vinyl records), magazines, club bulletins, literature and memorabilia
Dr. Ingolf Wachler (1911-1988, folklorist and first jazz editor at Radio Bremen)
Approximately 7,000 vinyl and shellac records with (early) jazz music, books and broadcasting manuscripts
.. and not to forget the three archive founders Klaus Kuhnke, Manfred Miller and Peter Schulze, who together have donated about 40,000 sound carriers as well as countless magazines, books and information materials
Here we provide you with our three online catalogs or OPACs for 1)sound carriers, 2) books and 3) journal articles, which can already be found on the Internet since 1995 (!). We are currently in the process of revising these catalogs, bringing them up to date with the latest technology and making them more user-friendly.
In principle, the online catalogs are well filled with records, but they do not (yet) by far contain all the media units we have in the archive. We are working daily to further fill the OPACs and to ensure data quality.
If you do not find certain media units you are looking for in one of the three OPACs, please feel free to write to us by email. Sometimes we can help and provide the materials you are looking for anyway. This is especially true for our periodicals (journals & magazines). We keep these in a separate directory, which is currently not yet accessible online.
Catalog of sound carriers ... here you can search for all kinds of sound carriers (vinyl records, CDs etc.)
Books Catalog ... here you can search for books of all kinds (monographs, anthologies etc.)
Magazine Articles Catalog ... here you can search for magazine articles about specific bands and musicians
We offer you a range of services. As a non-profit limited liability company, we are required to charge fees for these services in order to maintain our resources and quality of service. Our fees do not cover costs, but generate additional funds to our base budget. We use these funds specifically to further develop our collections and our spatial and technical infrastructure. Fees are not used for personnel costs.
User fees for the archive
... for students, teachers and staff of the University of the Arts Bremen the use of the archive is free of charge!
... for regular, external users
Day ticket: 5 €
Week ticket: 20 €
Monthly ticket: 50 €
Half-year ticket: 150 €
Annual ticket: 250 €
... for persons entitled to a discount with corresponding ID (pupils, trainees, students, unemployed)
Day ticket: 2,50 €
Week ticket: 10 €
Monthly ticket: 25 €
Half-year ticket: 75 €
Annual ticket: 125 €
Research fees - We will do the research for you in our archive holdings!
from 25 € per hour; maximum 100 € for a specific research request per day
1) You write us an email with a specific research request.
2) We will respond to you promptly by email, estimate the research effort and provide you with a cost estimate.
3) You reply to our email, agree to the estimate (if you wish) and thus place a research order with us.
4) We will reply to you and ask you to transfer the estimated research fees (between 25 € and 100 €) to our account in advance. Attached to this email we will send you a legally binding invoice, which also contains our bank details.
5) You will make the transfer.
6) Once we receive your referral, we will do the research for you.
7) The results of our research will be communicated to you by email. Scans or other files will be sent to you either as an email attachment or - for large files - via "WeTransfer", a third-party provider that is free of charge for you. There are no additional costs for scans or other digital files.
Group tours for tourists (up to a maximum of 15 people)
25 € per group for a 45-minute multimedia guided tour of the archive
Group tours for school classes (up to a maximum of 25 children and teenagers)
15 € per group for a 45-minute multimedia guided tour of the archive
Thematic presentations to the public (outside the archive/institute or the UA Bremen)
150 € for a multimedia, science-based presentation on a specific topic (approx. 30 minutes);
100 € per hour for a theme-related event for which we compile music and present it appropriately (moderation, possibly PowerPoint) > Exemplary theme: "The theme of food in popular music - from the archive to the (record) plate"
You have a music collection and want to give it into trustworthy hands? The reasons for this can be many: lack of space, weariness, a move is coming up and you want to get rid of ballast, or you have found a new love and no longer have time for your passion for collecting. Please feel free to contact us. Together we will weigh up whether we are the right partner institution for you.
There is also the possibility that you bequeath your collection to us. This way you can enjoy your collection during your lifetime and secure it for posterity. For this, you would only have to enter us as an institution in your will and leave the collection to us after your death.
Maybe you are the heir or heiress of a collection and can not do anything with it or do not know what to do with it? Talk or write to us! Under certain circumstances, the collection complements our holdings and we can take it over.
In any case, it is clear that we do not buy anything. We are not interested in any business arrangement. We only accept donated collections. In return, we can offer you a donation receipt, which is tax deductible.
In principle, we integrate the collections donated or bequeathed to us into our holdings, i.e. we assign them to our separately placed media (books to books, magazines to magazines, CDs to CDs, etc.). Only in exceptional cases we can/will preserve the collection as a unit. In the foreground for us is the usability of the given collections and the compliance with archival standards.
Music-related magazines have always been exciting media formats. Inevitably, they filter the vast number of bands and solo artists, introduce individuals, review their releases and concerts, create visual equivalents, and literally write (preliminary) music history(s). Such magazines always have to master the balancing act between art and commerce, because they are dependent on samples from music companies (primarily major labels) or advertisers, whose products they want to review as neutrally as possible and at the same time show their own artistic style or a specific aesthetic attitude. Hardly feasible, actually.
Since the market for popular music has become so incredibly large and no one can keep track of it, a segmentation has been observed for decades. In the past, music periodicals such as Rolling Stone, New Musical Express or Sounds covered a broad musical spectrum. Nowadays, things are generally different. They are mostly limited to specific musical styles or genres.
A rare exception is the magazine "SCHALL." produced in Berlin, because it appears with the impetus to represent as many areas of popular music as possible. It is no coincidence that the magazine refers to the value-free concept of sound, which describes with physical objectivity the wave-like spreading vibrations that can be perceived by the human ear. The magazine also demonstrates the courage to be non-conformist in terms of its size and the text-image ratio: a lot of text on 226 pages is truly unusual these days. Basically, one could even speak of a book or a book series, were it not for the self-titling as a music magazine.
The driving force behind it is music journalist Christian Hentschel and a team of music editors - all male, by the way. Nevertheless, space is also given to women, whether as contributors, graphic designers or musicians who are portrayed. So it's not a men's magazine that's primarily about masculine rock attitude - although that can also be found, for example, in articles about the bands Helloween or Michael Schenker's Fest.
Besides this gender fact, it is noticeable that a lot of German-language music is negotiated (e.g. Ulla Meinecke or Die Liga der gewöhnlichen Gentlemen). Austrian (e.g. Rainhard Fendrich or the duo Seiler und Speer) and Swiss acts (e.g. Selbstbedienung) are also highlighted. Even well-known GDR formations like the Puhdys or Stern-Combo Meisen find appreciation - and that in 2019!
Stylistically, the focus is on current rock and pop music - the seven-page cover story is devoted to the German stoner/psychedelic rock band Kadavar - but electronic dance music, punk, metal, soul, blues, jazz and even new music are also discussed. Such diversity is invigorating and allows readers to think outside the box.
The magazine was founded in 2015. In the meantime (as of June 2022), it has reached issue 26 and it is to be hoped that "SCHALL." can continue to exist for many more years in the highly competitive print media market. The website of the quarterly music magazine can be found here: https://www.schallmagazin.de
The Indian-born percussionist, drummer and singer Trilok Gurtu has lived in Hamburg for many years. His musical life, however, has taken him around the globe. Countless collaborations with artists such as Angelique Kidjo, Salif Keita, Neneh Cherry, John McLaughlin, Joe Zawinul, Pat Metheny, Dave Holland and Jan Garbarek are proof of his stylistic openness.
In 1988 he released his debut record "Usfret" on the German label Creative Music Productions (CMP) Records. Here he defined his version of so-called world music for the first time. In addition to his mother Shobha Gurtu, a well-known singer of the classical Indian music tradition, big names from the jazz context who have also dealt with regional varieties of world music: e.g. the trumpeter Don Cherry, the guitarist Ralph Towner or the bassist Jonas Hellborg.
Bremen-based producer Walter Quintus had a strong influence on the record, helping to shape the recordings musically. The striking record cover and artwork was the work of Hamburg graphic designer Ulf von Kanitz, who became the CMP label's in-house graphic designer. Many (international) jazz stars such as Joachim Kühn, Christof Lauer, Dave Liebman, Richie Beirach and Cream bassist Jack Bruce have released with CMP.
Manfred Miller: Um Blues und Groove. Afroamerikanische Musik im 20. Jahrhundert, Dreieich: Heupferd Musik 2017.
The opus magnum of our institution's co-founder, who died in 2021. A large-scale narrative of the origins and developments of popular music of the past century, in which African-American protagonists and the blues are at the center. Social historiography, musical and, above all, textual analysis are intimately linked in this publication.
Ulrich Duve: "Das war eine richtige Umwälzung. Ulrich Duve, Geschäftsführer Klaus-Kuhnke-Archiv, Bremen", in: Plattenkisten. Exkursionen in die Vinylkultur", hrsg. von Jörn Morisse & Felix Gebhard, Mainz: Ventil 2015, S. 153-161.
The former and long-time director of our archive reports on the context of our institution and tells from the sewing box, especially with reference to the large record collection. The upheaval mentioned in the title of his interview contribution was the program "Roll over Beethoven" by the three archive founders, which was "one of the first radio formats in Germany that not only played pop music, but mixed it with politics and did not exclude the socio-historical background of the music". Tasteful photos from the archive are also included.
1) Ulrich Duve: "Die Datenbank des Klaus-Kuhnke-Archivs - mehr als nur ein Bestandskatalog" (S. 107-114),
2) Peter Schulze: "Die Musik kommt aus der Steckdose, aber wie kommt sie da hinein? Physische Archive in Zeiten der Entmaterialisierung von Tonträgern und öffentlichen Budgets. Fragen über Fragen" (S. 115-122),
3) Nico Thom: "Aktuelle Prozesse der Kanonbildung in multimedialen Magazinen Populärer Musik" (S. 65-82),
alle drei Beiträge in: Populäre Musik und kulturelles Gedächtnis. Geschichtsschreibung - Archiv - Internet, hrsg. von Martin Pfleiderer, Köln/Weimar/Wien: Böhlau 2011.
In his article, archive founder Peter Schulze declares physical music archives to be an indispensable back-up for the Internet and the digital age. Ulrich Duve introduces the online catalog of our archive and makes clear that it can do more than just spit out individual titles; it can also be used to create discographies. Nico Thom describes the multi-layered, multimedia canonization processes of music magazines. In this way, the first historical meeting of the three KKI members is documented, who met in 2010 at a conference in Eisenach, from which this conference volume emerged.
Ulrich Duve: "Von Johann Strauß bis zu den Sex Pistols. Das Klaus-Kuhnke-Archiv für Populäre Musik", in: Im Zentrum: Musik. Die Hochschule für Künste Bremen in der Dechanatstraße, hrsg. von der Hochschule für Künste Bremen, Bremen: Verlag H.M. Hauschild 2006, S. 122-123.
Ulrich Duve provides a compact account of our archive. The occasion for the anthology of the UA Bremen was the new building for the Department of Music in the center of the city.
Manfred Miller & Peter Schulze (Hg.): Geschichte der Popmusik (Band 2). Die Radio Bremen Sendereihe roll over beethoven, Hambergen: Bear Family Records 1998.
Perhaps the centerpiece of our publication history to date. In 1998, the two remaining authors - Klaus Kuhnke had died in the meantime - published the broadcast manuscripts of the second part of the legendary broadcast series "Roll over Beethoven", which was produced and broadcast in the eighties. The cooperation with Richard Weize or Bear Family Records resulted in a lavishly designed box with 52 CDs, which was offered for sale at the end of the nineties for a fabulous 1,000 Marks. The demand was there, anyway. To this day, it is a coveted collector's item that has made history - in both senses of the word.
DiscoGraphie, Heft 1-6 (1982-1985), hrsg. von Klaus Kuhnke & dem Archiv für Populäre Musik in Bremen.
Quasi on his own Klaus Kuhnke has published a small collection of discographies over three years. Each booklet (or each monograph, since it has an ISBN number) is 48 pages long. Kuhnke lists sound carriers, as is customary for discographies, and provides important information on record labels, release dates, matrix numbers, etc. He also provides some contextual information on individual artists or bands. Even photos and graphics can be found in the booklets. Here and there there is talk of a so-called "German National Discography"... an idea that the founders of the archive had in mind for some time, but which could only be put into practice in the end - among other things because of the death of Klaus Kuhnke a few years later.
Anschläge. Zeitschrift des Archivs für Populäre Musik in Bremen, 7 Hefte (1978-1981).
The three founders of the archive realized an ambitious publication project with their own journal, which produced seven issues in four years (four of them in the first year!). They themselves acted as editors and authors, along with other contributors. Larger and smaller contributions, interviews, text analyses, record and book reviews as well as discographies and bibliographies were published, some of them illustrated. A historical testimony for politically-moved and in the cause engaged music journalism on the border of journalism and science.
Klaus Kuhnke, Manfred Miller & Peter Schulze: Geschichte der Pop-Musik, Band 1 (bis 1947), Lilienthal/Bremen: Eres Edition & Archiv für Populäre Musik 1976.
This is a revised new edition of the already published first part of the radio series "Roll over Beethoven", which dealt with popular music up to 1947. The first edition was published by the same publisher as a loose-leaf collection. Here, the book format was chosen.
Bukka White: "Country Blues. Sparkasse in Concert", Bremen: Archiv für Populäre Musik 1975.
The three founders of the archive, in addition to magazines and books, also released records; two to be exact. This is the first record from the founding year of the archive. It features US singer/guitarist Bukka White and his traditional Mississippi blues. The musician is very elderly at this point and has been pronounced dead several times (literally!). This recording is the recording of a concert in Bremen, which was financed by the Bremer Sparkasse and recorded in cooperation with Radio Bremen. Peter Schulze acted as recording supervisor.
Wilfried Grimpe, Klaus Kuhnke, Hartmut Lück, Manfred Miller & Peter Schulze: Geschichte der Populären Musik. Band 1: Bis zum 19. Jahrhundert, Mit 48 Tonbeispielen, Stuttgart: Deutsche Verlags-Anstalt 1974.
A curiosity, this publication. With an enormous development effort, this volume was to be a six-volume book series based on a new format, the so-called "phonobook. In addition to text and pictures, a "third dimension" was to be added, namely the tones or sound. For this purpose, a small device was specially developed in Japan that made it possible to play the sound foils integrated into the book. One could simply place the device on the respective sound foil and start listening. Actually a great idea, but unfortunately much too expensive to produce. That's why the publisher stopped production shortly after the first copies were printed, even though they had presented it with a lot of pomp at the Frankfurt Book Fair. Basically, this (phono) book never reached the book market, so that the few copies that exist have become rarities.
Klaus Kuhnke, Hartmut Lück, Manfred Miller, Tom Schroeder & Peter Schulze: Roll over Beethoven. Zur Geschichte der Populären Musik, Teil 1, Lilienthal/Bremen: Edition Eres 1973.
The first publication in which - among others - all three archive founders (Kuhnke, Miller & Schulze) participated. It was based on the radio series "Roll over Beethoven" on Radio Bremen (later also on NDR and WDR). Due to the success of the radio program, which was broadcast from 1973, a loose collection of sheets with broadcast manuscripts was produced in the same year, which listeners could order from the broadcasting station.
Four experienced (part-time) employees form the core team of the institute
Head of Institute
Nico Thom (*1978 in Altenburg/Thuringia) studied musicology, philosophy, science management and university didactics at the universities of Leipzig, Halle/Saale, Jena, Oldenburg and Hamburg. He researched and taught at the universities in Leipzig and Klagenfurt (Austria) as well as at the universities of art and music in Weimar, Rostock, Lübeck and Hannover. He also worked for a time at the Lippmann+Rau Music Archive in Eisenach, an internationally oriented foundation archive for jazz and popular music. Furthermore, he worked for many years for the Germany-wide Network of Music Universities, which is dedicated to the topics of quality management and teaching development. Since January 1, 2022, he has been the head of the Klaus Kuhnke Institute for Popular Music at the Bremen University of the Arts (full-time). In addition to his activities in research and teaching as well as in science and archive management, he acts as a jazz musician.
More information: https://www.nico-thom.info
Responsible for music-related journals & magazines as well as music technology
Andreas Herrmann (*1958 in Bassum/Lower Saxony) graduated from the University of Bremen with a teaching degree in music (Sek II) and subsequently worked for many years as a teacher at a Bremen high school and as an employee of the Bremen State Institute for Schools (LIS). Since the mid-eighties, he has been intensively involved with music technology and computer-aided music production, respectively. Since 2017, he has been a teacher for special tasks in the area of practical school instrumental playing (piano & guitar) at the Bremen University of the Arts, as well as a part-time employee at the Klaus Kuhnke Archive/Institute, where he is responsible for journal and magazine acquisition.
More information: https://www.hfk2020.de/de/personen/lehrende/andreas_herrmann.php
Responsible for music-related technical & non-fiction books as well as film music
André Feldhaus (*1975 in Münster/North Rhine-Westphalia) studied theater, film and television studies as well as German and English at the universities of Bochum, Liverpool and Bremen. Classical music training on the piano and participation in composition competitions and courses. Founding member of a punk band with subsequent publications and tours. Parallel to this, first experiences in the field of sound and sound design for film, television and theater. Since the end of the nineties he has been working as a freelance composer for film, television and theater and as a part-time employee of the Klaus Kuhnke Archive/Institute, where he is responsible for the collection of specialized and non-fiction books and looks after the film music collection.
More information: http://www.andrefeldhaus.de
Responsible for sound carriers as well as the sale of doubles of all kinds
Till Neurath (*1963 in Dortmund/North Rhine-Westphalia) studied business administration at the University of Dortmund and mathematics at the University of Bremen. Later, he trained as a specialist for media and information services (FaMI) at the Klaus Kuhnke Archive. In the eighties he was active in the Dortmund and Bremen punk scene as the owner of a D.I.Y. mail order company and several record labels. Since the beginning of the twenties he runs a trade for music and entertainment media on the internet. As a part-time employee he has been working for the Klaus Kuhnke Archive/Institute since the mid-nineties, where he takes care of the collection and maintenance of sound carriers as well as the sale of doubles.
Three meritorious radio journalists and pioneers of German-language pop music research
founded the "Archive for Popular Music" in Bremen in 1975
Klaus Kuhnke (1944-1988)
Broadcast journalist, passionate folk song researcher, critical mind & eponym of the institute
Klaus Kuhnke (*1944 in Rerik/Mecklenburg-Vorpommern) grew up in Hamburg and studied German and philosophy at the university there. From 1969 he worked as an editor (including "Die alten bösen Lieder - Lieder und Gedichte der Revolution von 1848") and as a radio and television journalist. He was editor and author of the magazine "Kunst und Gesellschaft" (Art and Society) and co-author of the more than 100-part radio series "Roll Over Beethoven" (Radio Bremen/NDR/WDR) and the 10-part television series "Rock'n'Roll Music" (NDR). Together with Manfred Miller and Peter Schulze, he founded the "Archive for Popular Music" in Bremen in 1975, to which he devoted much time and energy and which became an important part of his short life. In 1988 Klaus Kuhnke died in a tragic swimming accident on the Canary Islands. He drowned, but his body was never found. After his death, the archive was renamed "Klaus Kuhnke Archive for Popular Music" in his honor. He was one of the brightest and most perceptive thinkers in the field of popular music. Chattiness, musically as well as journalistically, was abhorrent to him. He relentlessly exposed stupidity among music creators and in radio and TV music programs. At times, he seemed somewhat brittle and unapproachable to some of his contemporaries. His strength of opinion was legendary.
Manfred Miller (1943-2021)
Broadcast journalist, free jazz promoter, blues expert and festival organizer
Manfred Miller (*1943 in Reichenberg/formerly North Bohemia, today the Czech Republic) began studying philosophy, musicology and sociology, but did not finish. Instead, he began working for radio and television in 1962, reporting on popular music, especially jazz and blues. First he worked for Deutsche Welle, then as head of the jazz editorial department at Radio Bremen from 1968 to 1970 in a responsible position. During this time, he also worked as a producer on historic recordings, such as the first two albums by free jazz saxophonist Peter Brötzmann. After a ten-year period as a freelancer for radio and television stations, he worked from 1981 to 1999 as a cultural editor at the regional studio in Mainz of SWF or SWR. However, he had already gained recognition as an expert music journalist earlier, especially in the 1970s. For example, he was involved in the 13-part TV series "Sympathy for the Devil", which was first broadcast on NDR television, and together with Klaus Kuhnke and Peter Schulze he created the extremely successful series "Roll over Beethoven" for Radio Bremen. Later, Manfred Miller devoted himself more to blues music, especially its lyrics and historical context. He had his own radio show called "Bluestime" on SWF 2, wrote numerous liner notes for blues albums, e.g. by Willie Dixon, J.B. Lenoir or Leadbelly, and was co-founder of the Lahnstein Blues Festival as well as its long-time host. Manfred Miller's opus magnum was the monograph published in 2017 under the title "Around Blues and Groove. African American Music in the 20th Century." In 2021 he succumbed to cancer.
More information: https://de.wikipedia.org/wiki/Manfred_Miller
Spiritus Rector of the Archive/Institute as well as renowned broadcast journalist, festival & concert hall director
Peter Schulze (*1947 in Bremen/Bremen) first studied sound engineering and composition at the Berlin Academy of Music before becoming jazz and pop editor for Radio Bremen from 1970 (until 1998). He then worked as head of music for Radio Bremen's cultural program for three years (until 2001). From 2003 to 2007 he was Artistic Director of the JazzFest Berlin, was a member of the board of the Europe Jazz Network until 2010, and has been Artistic Director of the "jazzahead!" fair in Bremen since 2005 (together with Prof. Ulrich Beckerhoff). He campaigned for the preservation of Radio Bremen's old broadcasting hall and since 2009 has been chairman of the Friends of the Broadcasting Hall Association and director of the concerts held there. At the associated label bremen radio hall records he is the expert for recordings in the field of jazz, singer-songwriter and world music. He is also co-founder of the Bremen Klaus Kuhnke Archive/Institute (originally Archive for Popular Music) and has been its spiritus rector for decades. Peter Schulze is also co-editor of various publications on the history of popular music.
More information: https://de.wikipedia.org/wiki/Peter_Schulze_(Musikjournalist)
Interested in an internship? Then simply apply with an informal email or give us a call.
We are happy to offer an internship to media and information services specialists (FaMIs) who are currently in training. However, students of all disciplines with an affinity for music can also complete an internship with us (at least 3 weeks, e.g. during the semester break). We are especially looking forward to female reinforcement for our team, of course also for persons who do not want to be assigned to a certain gender. Your sexual orientation is basically irrelevant to us, as is your social, national, ethnic or religious background.
We ask students to refrain from applying for an internship position, as our experience has shown that the effort required for familiarization and the expected benefit for the KKI are not in good proportion to each other. Thank you for your understanding.
Radio Bremen's first broadcasting house
In a way, it all started with this radio station. Although the "Sender Bremen" had already existed since 1924, "Radio Bremen" was not founded until after the end of the war in 1945 by the U.S. occupation forces or military government. Since 1950, Radio Bremen has been part of the ARD broadcasting network and is thus a public broadcaster. For the first few years, the station broadcast only radio programs, and in the early 1960s it added television programs. Successively, several radio programs were created (Radio Bremen 1, 2, 3 and 4), which devoted themselves to popular music with varying degrees of emphasis.
Initially, jazz music played a relatively large role, but then blues, folk and, above all, rock music (including rock'n'roll and beat) began to play an increasingly important role. In this context, a group of young radio journalists formed in the mid-1960s, who began to focus more on current popular music and its history. In 1965, the television program of Radio Bremen started the program "Beat Club", the first music TV program in German-speaking television, which was produced especially for young people. It quickly developed into a great audience success and shaped an entire generation.
More information: https://www.radiobremen.de
The original location at Ostertorsteinweg 3 in Bremen
Klaus Kuhnke, Manfred Miller and Peter Schulze, three young radio journalists and jazz and pop editors in their twenties, had been working for Radio Bremen since the late 1960s and early 1970s. They were regularly faced with the problem of not having enough information available on actually popular artists and bands from the past and present. Pop music journalism was still in its infancy and academic music research showed no interest in historical, let alone current popular music. In university disciplines such as musicology, music theory or music education, pop music was still considered worthless devilish stuff at that time. Instead, established music research was almost exclusively concerned with the tradition of classical European art music.
The three young men wanted to do something about this state of affairs. They were firmly convinced that it was worth collecting and archiving materials on the history and present of popular music. They pooled their private music collections and began to specifically fill the gaps in their joint collection. As employees of the radio station, they were regularly supplied with the latest recordings by record companies, which meant that they had already accumulated a lot of relevant material in a short time. So they rented the apartment above their shared apartment for 500 marks a month and built up their archive there, which they sometimes made available to other interested parties. In 1975, they went public under the name "Archive for Popular Music" and met with lively interest, also from the press. They chose the non-profit limited liability company (gGmbH) as the legal form for the archive.
In the mid-1980s, it was possible to employ archive staff for the first time, who were financed by a job creation scheme of the city. Over a period of four years (1985-1989), up to four people at a time entered data into the specially developed database. In this way, large parts of the holdings of that time could be recorded with the help of computer technology. One of the employees from this period, Ulrich Duve to be precise, later became the head of the Klaus Kuhnke Archive for Popular Music.
Richard Weize in the (business) cellar of his old Bremen house in the Goethestrasse
The Klaus Kuhnke Archive/Institute has been closely associated with the mail-order service and record label Bear Family Records, which was founded and managed for 40 years by Richard Weize, from the very beginning. Weize also started his company in 1975. At that time, the first company headquarters was Harmenhausen (near Bremen), but after a short time, Weize moved the company and family to Goethestrasse in Bremen. However, the old Bremen house soon became too cramped for the aspiring businessman/idealist and his numerous activities, and so he moved within Bremen to Eduard-Grunow-Strasse. In 1986, the company finally moved to Vollersode, 40km north of Bremen. After the sale of the company (by Richard Weize) in 2016, Bear Family Records is now based in Holste-Oldendorf.
There was and is a continuous professional and factual exchange between Bear Family Records and KKI. In the beginning, they even partly used the same infrastructure. Even today, Bear Family Records - in the meantime a globally respected and award-winning company - supplies our archive with the latest releases. Since 1988, the year of Klaus Kuhnke's death, Richard Weize has taken over his role as KKA/I co-partner and has supported us with his know-how and network ever since.
More information: https://www.bear-family.de sowie https://andmorebears.com
The building of the Department of Music of the UA Bremen at Dechanatstrasse 13-15
The UA Bremen has existed since 1988 with the academic rank of a university of the arts. However, its roots go back to the 19th century. An important starting point was the founding of the "Design Class of the Gewerbemuseum" in 1873, which was launched in Bremen during the heyday of historicism. Only five years later, professional music education was also established in Bremen, initially still in a private setting, but from 1893 as the "Conservatorium of Music". Both institutions developed independently of each other in the following decades. The 1920s saw a "School of Arts and Crafts" (1922), later a "Nordic School of Art" (1933), as well as a "Municipal Singing School" (1935) and a "Nordic Conservatory of Music" (1942).After the war, the educational institutions traded as the "State School of Art" (1946) and the "College of Design" (1970), as well as the "Bremen School of Music" (1948) and the "Conservatory" (1965), until the merger with the "College of Design Art and Music" in 1979.
The structure of today's UA Bremen grew since the 1970s through the merger of previously independent institutions and resulted in 1988 in today's Hochschule für Künste (University of the Arts) with its two departments 1) Music and 2) Art and Design. In 1993, the hitherto private "Academy for Early Music" was affiliated with the UA Bremen with the aim of raising the profile of music education in Bremen. Two years earlier (1991), the Klaus Kuhnke Archive for Popular Music had already been integrated into the still relatively young UA Bremen.
More information: https://www.hfk2020.de
Ulrich Duve, the former head of the Klaus Kuhnke Archive, in front of the vinyl collection in 2014
When the University of the Arts (UA) Bremen was founded, the responsible senatorial authority suggested that a course of study in the field of popular music should also be established. At that time, this request still resembled sacrilege, and so the newly formed Department of Music practiced ignorance for the time being. In order to open a back door, so to speak, for popular music, which was little appreciated, a resourceful senate councillor or head of the science department launched the move of the "Archive for Popular Music" - which since the death of Klaus Kuhnke (1988) had been renamed the "Klaus Kuhnke Archive for Popular Music" - to the basement premises of the HfK at Dechanatstrasse 13-15, where the Department of Music was and is located. In 1992, the Bremen Senator for Education and Science then officially designated the KKA as an independent institute of the university.
In the 1990s, there were tentative attempts by some lecturers to anchor popular music - or at least jazz - in the teaching at the UA, but with moderate success. It was not until the turn of the millennium that a genuine course of study for jazz and jazz-related music was begun. The KKA played a certain role in this, since the necessary teaching components on jazz history could be contributed by the archive management (Peter Schulze & Ulrich Duve). In addition, all teachers and students of the jazz studies program had the opportunity from the beginning to access the holdings of the archive, which - among other things - holds countless materials on jazz history.
In addition to in-house staff and students of the UA, the KKA continued to be used by external interested parties, i.e. professional musicians and music researchers, but also students of other disciplines (from Germany and abroad). In addition, there were always sporadic visits by music lovers and collectors, music journalists and (tourist) laymen from Bremen, the surrounding area and the entire German-speaking world. Some of them even became regular guests.
Ulrich Duve had become head of the archive in 1991. With the limited resources available at the time, he tried to recruit additional staff. Since 1997 Till Neurath has been working part-time, since 1999 André Feldhaus, also on a part-time basis. The same applies to Andreas Herrmann, who joined many years later (2017). In the meantime there were a lot of volunteers and interns.
In the meantime, the collection grew continuously and the archive almost reached its capacity limit, so that there were repeated attempts to find a new home for the KKA. In the end, however, we decided on the UA Bremen (or the Department of Music in Dechanatstrasse) as the location, simply because the advantages outweigh the disadvantages. Recently, an external storage facility has been rented to accommodate the permanent new additions.
The musicologist and science manager Nico Thom has been developing the archive since the beginning of 2022 and has begun to expand it into a research institute
In January 2022, a generational change took place at KKA. Ulrich Duve, who had guided the fortunes of the archive for thirty years and had previously served as a staff member of the archive for five years, went into well-deserved retirement (and became a designated co-partner). His successor was the musicologist and science manager Nico Thom. Together with Ulrich Duve and the board of shareholders around Peter Schulze, the vision emerged to put the archive on a broader footing, to proactively research its own holdings, and to participate in the transnational debates of Popular Music & Jazz Studies. A first step in this direction was the renaming to "Klaus Kuhnke Institute for Popular Music - Archive & Research Center at the University of the Arts Bremen". With this partial name change, it was first made clear only to the outside world that the archive had already been an institute of the UA Bremen for thirty years, something that few people knew at the time.
As an institute with the legal form of a gGmbH, we have certain rights and obligations. In addition to the ongoing maintenance and IT-supported recording of the archive holdings, the successive digitization of the same is a necessary process for their long-term preservation. At the same time, the artifacts become more accessible for users of the archive and can be processed in many ways. With the new website, which went online on May 13, 2022, the activities of the archive and institute can be made even more transparent. Planned are the development of a KKI online magazine called "S[æ]itenanschläge" as well as research projects - partly financed by third-party funds - on self-imposed topics, the results of which are to be made public through lectures, conferences, interview concerts, exhibitions and various forms of publication.
Klaus-Kuhnke-Institut für Populäre Musik
Hochschule für Künste Bremen
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Klaus-Kuhnke-Institut für Populäre Musik
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Klaus Kuhnke Institute for Popular Music (gGmbH)
Archive & Research Center at the University of the Arts Bremen
Head of Institute: Nico Thom
Managing Director: Peter Schulze
Registry Court: Bremen local court
Commercial register: HRB 6030
Website programming & administration: Nico Thom
Most of the photos on this website were taken by the Bremen photographer Linda Tessarek (https://licht-gestalten.net).
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Stand: 13. Mai 2022
Klaus-Kuhnke-Institut für Populäre Musik
Hochschule für Künste Bremen
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Im Rahmen unserer Verarbeitung von personenbezogenen Daten kommt es vor, dass die Daten an andere Stellen, Unternehmen, rechtlich selbstständige Organisationseinheiten oder Personen übermittelt oder sie ihnen gegenüber offengelegt werden. Zu den Empfängern dieser Daten können z.B. mit IT-Aufgaben beauftragte Dienstleister oder Anbieter von Diensten und Inhalten, die in eine Webseite eingebunden werden, gehören. In solchen Fall beachten wir die gesetzlichen Vorgaben und schließen insbesondere entsprechende Verträge bzw. Vereinbarungen, die dem Schutz Ihrer Daten dienen, mit den Empfängern Ihrer Daten ab.
Sofern wir Daten in einem Drittland (d.h., außerhalb der Europäischen Union (EU), des Europäischen Wirtschaftsraums (EWR)) verarbeiten oder die Verarbeitung im Rahmen der Inanspruchnahme von Diensten Dritter oder der Offenlegung bzw. Übermittlung von Daten an andere Personen, Stellen oder Unternehmen stattfindet, erfolgt dies nur im Einklang mit den gesetzlichen Vorgaben.
Vorbehaltlich ausdrücklicher Einwilligung oder vertraglich oder gesetzlich erforderlicher Übermittlung verarbeiten oder lassen wir die Daten nur in Drittländern mit einem anerkannten Datenschutzniveau, vertraglichen Verpflichtung durch sogenannte Standardschutzklauseln der EU-Kommission, beim Vorliegen von Zertifizierungen oder verbindlicher internen Datenschutzvorschriften verarbeiten (Art. 44 bis 49 DSGVO, Informationsseite der EU-Kommission: https://ec.europa.eu/info/law/law-topic/data-protection/international-dimension-data-protection_de).
Die von uns verarbeiteten Daten werden nach Maßgabe der gesetzlichen Vorgaben gelöscht, sobald deren zur Verarbeitung erlaubten Einwilligungen widerrufen werden oder sonstige Erlaubnisse entfallen (z.B. wenn der Zweck der Verarbeitung dieser Daten entfallen ist oder sie für den Zweck nicht erforderlich sind).
Sofern die Daten nicht gelöscht werden, weil sie für andere und gesetzlich zulässige Zwecke erforderlich sind, wird deren Verarbeitung auf diese Zwecke beschränkt. D.h., die Daten werden gesperrt und nicht für andere Zwecke verarbeitet. Das gilt z.B. für Daten, die aus handels- oder steuerrechtlichen Gründen aufbewahrt werden müssen oder deren Speicherung zur Geltendmachung, Ausübung oder Verteidigung von Rechtsansprüchen oder zum Schutz der Rechte einer anderen natürlichen oder juristischen Person erforderlich ist.
Unsere Datenschutzhinweise können ferner weitere Angaben zu der Aufbewahrung und Löschung von Daten beinhalten, die für die jeweiligen Verarbeitungen vorrangig gelten.
Wir verarbeiten Daten unserer Vertrags- und Geschäftspartner, z.B. Kunden und Interessenten (zusammenfassend bezeichnet als "Vertragspartner") im Rahmen von vertraglichen und vergleichbaren Rechtsverhältnissen sowie damit verbundenen Maßnahmen und im Rahmen der Kommunikation mit den Vertragspartnern (oder vorvertraglich), z.B., um Anfragen zu beantworten.
Wir verarbeiten diese Daten, um unsere vertraglichen Verpflichtungen zu erfüllen. Dazu gehören insbesondere die Verpflichtungen zur Erbringung der vereinbarten Leistungen, etwaige Aktualisierungspflichten und Abhilfe bei Gewährleistungs- und sonstigen Leistungsstörungen. Darüber hinaus verarbeiten wir die Daten zur Wahrung unserer Rechte und zum Zwecke der mit diesen Pflichten verbundenen Verwaltungsaufgaben sowie der Unternehmensorganisation. Darüber hinaus verarbeiten wir die Daten auf Grundlage unserer berechtigten Interessen an einer ordnungsgemäßen und betriebswirtschaftlichen Geschäftsführung sowie an Sicherheitsmaßnahmen zum Schutz unserer Vertragspartner und unseres Geschäftsbetriebes vor Missbrauch, Gefährdung ihrer Daten, Geheimnisse, Informationen und Rechte (z.B. zur Beteiligung von Telekommunikations-, Transport- und sonstigen Hilfsdiensten sowie Subunternehmern, Banken, Steuer- und Rechtsberatern, Zahlungsdienstleistern oder Finanzbehörden). Im Rahmen des geltenden Rechts geben wir die Daten von Vertragspartnern nur insoweit an Dritte weiter, als dies für die vorgenannten Zwecke oder zur Erfüllung gesetzlicher Pflichten erforderlich ist. Über weitere Formen der Verarbeitung, z.B. zu Marketingzwecken, werden die Vertragspartner im Rahmen dieser Datenschutzerklärung informiert.
Welche Daten für die vorgenannten Zwecke erforderlich sind, teilen wir den Vertragspartnern vor oder im Rahmen der Datenerhebung, z.B. in Onlineformularen, durch besondere Kennzeichnung (z.B. Farben) bzw. Symbole (z.B. Sternchen o.ä.), oder persönlich mit.
Wir löschen die Daten nach Ablauf gesetzlicher Gewährleistungs- und vergleichbarer Pflichten, d.h., grundsätzlich nach Ablauf von 4 Jahren, es sei denn, dass die Daten in einem Kundenkonto gespeichert werden, z.B., solange sie aus gesetzlichen Gründen der Archivierung aufbewahrt werden müssen (z.B. für Steuerzwecke im Regelfall 10 Jahre). Daten, die uns im Rahmen eines Auftrags durch den Vertragspartner offengelegt wurden, löschen wir entsprechend den Vorgaben des Auftrags, grundsätzlich nach Ende des Auftrags.
Soweit wir zur Erbringung unserer Leistungen Drittanbieter oder Plattformen einsetzen, gelten im Verhältnis zwischen den Nutzern und den Anbietern die Geschäftsbedingungen und Datenschutzhinweise der jeweiligen Drittanbieter oder Plattformen.
Um unser Onlineangebot sicher und effizient bereitstellen zu können, nehmen wir die Leistungen von einem oder mehreren Webhosting-Anbietern in Anspruch, von deren Servern (bzw. von ihnen verwalteten Servern) das Onlineangebot abgerufen werden kann. Zu diesen Zwecken können wir Infrastruktur- und Plattformdienstleistungen, Rechenkapazität, Speicherplatz und Datenbankdienste sowie Sicherheitsleistungen und technische Wartungsleistungen in Anspruch nehmen.
Zu den im Rahmen der Bereitstellung des Hostingangebotes verarbeiteten Daten können alle die Nutzer unseres Onlineangebotes betreffenden Angaben gehören, die im Rahmen der Nutzung und der Kommunikation anfallen. Hierzu gehören regelmäßig die IP-Adresse, die notwendig ist, um die Inhalte von Onlineangeboten an Browser ausliefern zu können, und alle innerhalb unseres Onlineangebotes oder von Webseiten getätigten Eingaben.
Weitere Hinweise zu Verarbeitungsprozessen, Verfahren und Diensten:
Wir nutzen Blogs oder vergleichbare Mittel der Onlinekommunikation und Publikation (nachfolgend "Publikationsmedium"). Die Daten der Leser werden für die Zwecke des Publikationsmediums nur insoweit verarbeitet, als es für dessen Darstellung und die Kommunikation zwischen Autoren und Lesern oder aus Gründen der Sicherheit erforderlich ist. Im Übrigen verweisen wir auf die Informationen zur Verarbeitung der Besucher unseres Publikationsmediums im Rahmen dieser Datenschutzhinweise.
Weitere Hinweise zu Verarbeitungsprozessen, Verfahren und Diensten:
Bei der Kontaktaufnahme mit uns (z.B. per Kontaktformular, E-Mail, Telefon oder via soziale Medien) sowie im Rahmen bestehender Nutzer- und Geschäftsbeziehungen werden die Angaben der anfragenden Personen verarbeitet soweit dies zur Beantwortung der Kontaktanfragen und etwaiger angefragter Maßnahmen erforderlich ist.
Die Beantwortung der Kontaktanfragen sowie die Verwaltung von Kontakt- und Anfragedaten im Rahmen von vertraglichen oder vorvertraglichen Beziehungen erfolgt zur Erfüllung unserer vertraglichen Pflichten oder zur Beantwortung von (vor)vertraglichen Anfragen und im Übrigen auf Grundlage der berechtigten Interessen an der Beantwortung der Anfragen und Pflege von Nutzer- bzw. Geschäftsbeziehungen.
Weitere Hinweise zu Verarbeitungsprozessen, Verfahren und Diensten:
Wir versenden Newsletter, E-Mails und weitere elektronische Benachrichtigungen (nachfolgend "Newsletter“) nur mit der Einwilligung der Empfänger oder einer gesetzlichen Erlaubnis. Sofern im Rahmen einer Anmeldung zum Newsletter dessen Inhalte konkret umschrieben werden, sind sie für die Einwilligung der Nutzer maßgeblich. Im Übrigen enthalten unsere Newsletter Informationen zu unseren Leistungen und uns.
Um sich zu unseren Newslettern anzumelden, reicht es grundsätzlich aus, wenn Sie Ihre E-Mail-Adresse angeben. Wir können Sie jedoch bitten, einen Namen, zwecks persönlicher Ansprache im Newsletter, oder weitere Angaben, sofern diese für die Zwecke des Newsletters erforderlich sind, zu tätigen.
Double-Opt-In-Verfahren: Die Anmeldung zu unserem Newsletter erfolgt grundsätzlich in einem sogenannte Double-Opt-In-Verfahren. D.h., Sie erhalten nach der Anmeldung eine E-Mail, in der Sie um die Bestätigung Ihrer Anmeldung gebeten werden. Diese Bestätigung ist notwendig, damit sich niemand mit fremden E-Mail-Adressen anmelden kann. Die Anmeldungen zum Newsletter werden protokolliert, um den Anmeldeprozess entsprechend den rechtlichen Anforderungen nachweisen zu können. Hierzu gehört die Speicherung des Anmelde- und des Bestätigungszeitpunkts als auch der IP-Adresse. Ebenso werden die Änderungen Ihrer bei dem Versanddienstleister gespeicherten Daten protokolliert.
Löschung und Einschränkung der Verarbeitung: Wir können die ausgetragenen E-Mail-Adressen bis zu drei Jahren auf Grundlage unserer berechtigten Interessen speichern, bevor wir sie löschen, um eine ehemals gegebene Einwilligung nachweisen zu können. Die Verarbeitung dieser Daten wird auf den Zweck einer möglichen Abwehr von Ansprüchen beschränkt. Ein individueller Löschungsantrag ist jederzeit möglich, sofern zugleich das ehemalige Bestehen einer Einwilligung bestätigt wird. Im Fall von Pflichten zur dauerhaften Beachtung von Widersprüchen behalten wir uns die Speicherung der E-Mail-Adresse alleine zu diesem Zweck in einer Sperrliste (sogenannte "Blocklist") vor.
Die Protokollierung des Anmeldeverfahrens erfolgt auf Grundlage unserer berechtigten Interessen zu Zwecken des Nachweises seines ordnungsgemäßen Ablaufs. Soweit wir einen Dienstleister mit dem Versand von E-Mails beauftragen, erfolgt dies auf Grundlage unserer berechtigten Interessen an einem effizienten und sicheren Versandsystem.
Hinweise zu Rechtsgrundlagen: Der Versand der Newsletter erfolgt auf Grundlage einer Einwilligung der Empfänger oder, falls eine Einwilligung nicht erforderlich ist, auf Grundlage unserer berechtigten Interessen am Direktmarketing, sofern und soweit diese gesetzlich, z.B. im Fall von Bestandskundenwerbung, erlaubt ist. Soweit wir einen Dienstleister mit dem Versand von E-Mails beauftragen, geschieht dies auf der Grundlage unserer berechtigten Interessen an einem effizienten und sicheren Versand. Das Registrierungsverfahren wird auf der Grundlage unserer berechtigten Interessen aufgezeichnet, um nachzuweisen, dass es in Übereinstimmung mit dem Gesetz durchgeführt wurde.Inhalte:
Informationen zu uns, unseren Leistungen, Aktionen und Angeboten.
Weitere Hinweise zu Verarbeitungsprozessen, Verfahren und Diensten:
Wir unterhalten Onlinepräsenzen innerhalb sozialer Netzwerke und verarbeiten in diesem Rahmen Daten der Nutzer, um mit den dort aktiven Nutzern zu kommunizieren oder um Informationen über uns anzubieten.
Wir weisen darauf hin, dass dabei Daten der Nutzer außerhalb des Raumes der Europäischen Union verarbeitet werden können. Hierdurch können sich für die Nutzer Risiken ergeben, weil so z.B. die Durchsetzung der Rechte der Nutzer erschwert werden könnte.
Ferner werden die Daten der Nutzer innerhalb sozialer Netzwerke im Regelfall für Marktforschungs- und Werbezwecke verarbeitet. So können z.B. anhand des Nutzungsverhaltens und sich daraus ergebender Interessen der Nutzer Nutzungsprofile erstellt werden. Die Nutzungsprofile können wiederum verwendet werden, um z.B. Werbeanzeigen innerhalb und außerhalb der Netzwerke zu schalten, die mutmaßlich den Interessen der Nutzer entsprechen. Zu diesen Zwecken werden im Regelfall Cookies auf den Rechnern der Nutzer gespeichert, in denen das Nutzungsverhalten und die Interessen der Nutzer gespeichert werden. Ferner können in den Nutzungsprofilen auch Daten unabhängig der von den Nutzern verwendeten Geräte gespeichert werden (insbesondere, wenn die Nutzer Mitglieder der jeweiligen Plattformen sind und bei diesen eingeloggt sind).
Für eine detaillierte Darstellung der jeweiligen Verarbeitungsformen und der Widerspruchsmöglichkeiten (Opt-Out) verweisen wir auf die Datenschutzerklärungen und Angaben der Betreiber der jeweiligen Netzwerke.
Auch im Fall von Auskunftsanfragen und der Geltendmachung von Betroffenenrechten weisen wir darauf hin, dass diese am effektivsten bei den Anbietern geltend gemacht werden können. Nur die Anbieter haben jeweils Zugriff auf die Daten der Nutzer und können direkt entsprechende Maßnahmen ergreifen und Auskünfte geben. Sollten Sie dennoch Hilfe benötigen, dann können Sie sich an uns wenden.
Weitere Hinweise zu Verarbeitungsprozessen, Verfahren und Diensten:
Wir binden in unser Onlineangebot Funktions- und Inhaltselemente ein, die von den Servern ihrer jeweiligen Anbieter (nachfolgend bezeichnet als "Drittanbieter”) bezogen werden. Dabei kann es sich zum Beispiel um Grafiken, Videos oder Stadtpläne handeln (nachfolgend einheitlich bezeichnet als "Inhalte”).
Die Einbindung setzt immer voraus, dass die Drittanbieter dieser Inhalte die IP-Adresse der Nutzer verarbeiten, da sie ohne die IP-Adresse die Inhalte nicht an deren Browser senden könnten. Die IP-Adresse ist damit für die Darstellung dieser Inhalte oder Funktionen erforderlich. Wir bemühen uns, nur solche Inhalte zu verwenden, deren jeweilige Anbieter die IP-Adresse lediglich zur Auslieferung der Inhalte verwenden. Drittanbieter können ferner sogenannte Pixel-Tags (unsichtbare Grafiken, auch als "Web Beacons" bezeichnet) für statistische oder Marketingzwecke verwenden. Durch die "Pixel-Tags" können Informationen, wie der Besucherverkehr auf den Seiten dieser Webseite, ausgewertet werden. Die pseudonymen Informationen können ferner in Cookies auf dem Gerät der Nutzer gespeichert werden und unter anderem technische Informationen zum Browser und zum Betriebssystem, zu verweisenden Webseiten, zur Besuchszeit sowie weitere Angaben zur Nutzung unseres Onlineangebotes enthalten als auch mit solchen Informationen aus anderen Quellen verbunden werden.
Hinweise zu Rechtsgrundlagen: Sofern wir die Nutzer um deren Einwilligung in den Einsatz der Drittanbieter bitten, ist die Rechtsgrundlage der Verarbeitung von Daten die Einwilligung. Ansonsten werden die Daten der Nutzer auf Grundlage unserer berechtigten Interessen (d.h. Interesse an effizienten, wirtschaftlichen und empfängerfreundlichen Leistungen) verarbeitet. In diesem Zusammenhang möchten wir Sie auch auf die Informationen zur Verwendung von Cookies in dieser Datenschutzerklärung hinweisen.
Wir bitten Sie, sich regelmäßig über den Inhalt unserer Datenschutzerklärung zu informieren. Wir passen die Datenschutzerklärung an, sobald die Änderungen der von uns durchgeführten Datenverarbeitungen dies erforderlich machen. Wir informieren Sie, sobald durch die Änderungen eine Mitwirkungshandlung Ihrerseits (z.B. Einwilligung) oder eine sonstige individuelle Benachrichtigung erforderlich wird.
Sofern wir in dieser Datenschutzerklärung Adressen und Kontaktinformationen von Unternehmen und Organisationen angeben, bitten wir zu beachten, dass die Adressen sich über die Zeit ändern können und bitten die Angaben vor Kontaktaufnahme zu prüfen.
Ihnen stehen als Betroffene nach der DSGVO verschiedene Rechte zu, die sich insbesondere aus Art. 15 bis 21 DSGVO ergeben:
In diesem Abschnitt erhalten Sie eine Übersicht über die in dieser Datenschutzerklärung verwendeten Begrifflichkeiten. Viele der Begriffe sind dem Gesetz entnommen und vor allem im Art. 4 DSGVO definiert. Die gesetzlichen Definitionen sind verbindlich. Die nachfolgenden Erläuterungen sollen dagegen vor allem dem Verständnis dienen. Die Begriffe sind alphabetisch sortiert.