Hostname: page-component-586b7cd67f-l7hp2 Total loading time: 0 Render date: 2024-11-21T23:01:00.340Z Has data issue: false hasContentIssue false

‘Sadeness’, Scorpions and single markets: national and transnational trends in European popular music

Published online by Cambridge University Press:  11 November 2008

Extract

Among the biggest international hits of 1991 was ‘Sadeness’, a piece of music created in a studio in Spain by Michael Cretu, a German-based, Rumanian-born producer using samples from recordings of Gregorian chants. This followed the chart successes of dance records created in Belgium by Technotronic and Snap, in Italy (Black Box) and Sweden (Dr Alban).

Type
Research Article
Copyright
Copyright © Cambridge University Press 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Attali, Jacques. 1985. Noise, The Political Economy of Music (Manchester)Google Scholar
de Angelo, Mario. 1989. La Renaissance du Disque (Paris)Google Scholar
Hennessey, Mike. 1991. ‘Just plain “Volksmusik” is seeing German resurgence’, Billboard, 7 12, p. 1, 38 (New York)Google Scholar
Lange, Andre. 1987. Strategies de la Musique (Brussels)Google Scholar
Mitsui, Toru. 1991. ‘Introduction’, Popular Music, 10/3Google Scholar
Palmer, John. 1989. 1992 and Beyond (Luxembourg)Google Scholar
Pride, Dominic. 1991. ‘Rights law can open door to Polish market’, Music Business International, 07, pp. 1315 (London)Google Scholar
Provenzo, Eugene F. Jr 1991. Video Kids: Making Sense of Nintendo (Harvard and London)CrossRefGoogle Scholar
Troitsky, Artemy. 1989. Tusovka. Who's Who in the New Soviet Rock Culture (London)Google Scholar
Viviant, Arnaud. 1991. ‘“Pop francaise” au Pigall's’, Liberation, 13 12, p. 49 (Paris)Google Scholar
White, Adam. 1992. ‘Warner International Aims to Conquer Europe’, Billboard, 18 01, pp. 36–8 (New York)Google Scholar