Hostname: page-component-7f64f4797f-pffzl Total loading time: 0 Render date: 2025-11-10T18:47:43.696Z Has data issue: false hasContentIssue false
  • English
  • Français

More than just music: the seven dimensions of the Eurovision Song Contest

Published online by Cambridge University Press:  01 February 2012

Irving Wolther
Irving Wolther
Affiliation:
GoeGenstrasse 3, 30161 Hannover, Germany E-mail: Wolther@phonos.de
Get access Rights & Permissions [Opens in a new window]

Abstract

The Eurovision Song Contest (ESC) is one of the most-watched entertainment programmes in Europe. Apparent national differences in using the show as an instrument for national-cultural representation can be explained by reducing its complexity to seven essential and interconnected ‘dimensions of meaning’.

Information

Type
Middle Eight
Information
Popular Music , Volume 31 , Issue 1 , January 2012 , pp. 165 - 171
Copyright
Copyright © Cambridge University Press 2012

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.)

Article purchase

Temporarily unavailable

References

Björnberg, A. 1987. En liten sång som alla andra. Melodifestivalen 1959–1983 (Göteborg, Göteborgs Universitet)Google Scholar
Björnberg, A. 2007. ‘Return to ethnicity: the cultural significance of musical change in the Eurovision Song Contest’, in A Song for Europe. Popular Music and Politics in the Eurovision Song Contest, ed. Raykoff, I. and Tobin, R.D. (Aldershot, Ashgate), pp. 13–23Google Scholar
Böhmer, E. 1970. Ein Lied für Amsterdam. Deutsche Vorentscheidung zum Grand Prix Eurovision de la Chanson 1970 (Frankfurt am Main, Hessischer Rundfunk)Google Scholar
Boorstin, D.J. 1985. The Image: A Guide to Pseudo-events in America, 11th edn (New York, Atheneum)Google Scholar
CFC Consulting. 2005. Case Study: Eurovision Song Contest Kyiv 2005 (Kiew, CFC Consulting)Google Scholar
Chartitalia. 2005. Gigliola Cinquetti: Sì e Referendum. http://chartitalia.blogspot.com/2005/06/gigliola-cinquetti-s-e-referendum.html (accessed 7 July 2005)Google Scholar
Denisoff, S.R. 1975. Solid Gold: The Popular Record Industry (New Brunswick, Transaction)Google Scholar
Dollase, R., Woitowitz, K., Bieler, A., Ridder, A., and Köhnemann, I. 2002. ‘Konformität und Nonkonformität musikalischer Präferenzen als Ausdruck sozialer Distinktion in multikulturellen Schulklassen zwischen dem 11 und 18 Lebensjahr’, in Popkulturtheorie, ed. Bonz, J. (Mainz, Ventil), pp. 199–209Google Scholar
Televisioon, Eesti. (ed.) 2002. The Official Programme of the 47th Eurovision Song Contest 2002 (Tallinn, ETV)Google Scholar
European Broadcasting Union. 2009. Over 122 million viewers for 2009 Eurovision Song Contest. http://www.eurovision.tv/page/news?id=2823&_t=Over+122+million+viewers+for+2009+Eurovision+Song+Contest (accessed 22 February 2010)Google Scholar
Feddersen, J. 2002. Ein Lied kann eine Brücke sein. Die deutsche und internationale Geschichte des Grand Prix Eurovision (Hamburg, Hoffmann und Campe)Google Scholar
Frith, S. 1996. ‘Music and identity’, in Questions of Cultural Identity, ed. Hall, S. and Gay, P.D. (London, Sage), pp. 108–27Google Scholar
Ginsburgh, V.A., and Noury, A. 2004. ‘Cultural voting the Eurovision Song Contest’, CORE Discussion Papers. http://www.core.ucl.ac.be/services/psfiles/dp05/dp2005_6.pdf (accessed 31 March 2010)CrossRefGoogle Scholar
Gumpert, M. 2007. ‘“Everyway that I can”: auto-Orientalism at Eurovision 2003’, in A Song for Europe. Popular Music and Politics in the Eurovision Song Contest, ed. Raykoff, I. and Tobin, R.D. (Aldershot, Ashgate), pp. 147–57Google Scholar
Habermas, J. 1990. ‘Grenzen des Neohistorismus’, in Die nachholende Revolution. Kleine politische Schriften VII (Frankfurt am Main, Suhrkamp), pp. 149–56Google Scholar
Houses of the Oireachtas. 1995. European Communities (Amendment) Bill 1995 [Seanad]: Second Stage. Dáil Éireann, 452, 9 May. http://historical-debates.oireachtas.ie/D/0452/D.0452.199505090114.html (accessed 14 February 2005)Google Scholar
Klapheck, E.-M. 2004. ‘Die Sprachenwahl beim Eurovision Song Contest und ihre Auswirkungen und Konsequenzen Untersuchung zum Zeitraum 1999–2004’, unpublished Master's thesis (Duisburg, Universität Duisburg-Essen)Google Scholar
Le Guern, P. 2000. ‘From national pride to global kitsch: the Eurovision Song Contest’, Web Journal of French Media Studies. http://wjfms.ncl.ac.uk/leguWJ.htm (accessed 15 October 2003)Google Scholar
Mayr, D. 2009. ‘“Wir zahlen und die anderen schieben sich die Punkte zu”. Aktuelle Untersuchung zum Wertungsverhalten im Eurovision Song Contest’, unpublished Bachelor's thesis (Hannover, Hochschule für Musik und Theater)Google Scholar
Scherer, H., and Schlütz, D. 2003. Das inszenierte Medienereignis. Die verschiedenen Wirklichkeiten der Vorausscheidung zum Eurovision Song Contest in Hannover 2001 1st edn (Köln, Herbert von Halem Verlag)Google Scholar
Schweiger, W., and Brosius, H.-B. 2003. ‘Eurovision Song Contest – Beeinflussen Nachrichtenfaktoren die Punktevergabe durch das Publikum?’, Medien & Kommunikationswissenschaft, 51/2, pp. 271–94CrossRefGoogle Scholar
Spierdijk, L., and Vellekoop, M. 2009. ‘The structure of bias in peer voting systems: lessons from the Eurovision Song Contest’, Empirical Economics, 36, pp. 403–25CrossRefGoogle Scholar
Wolther, I. 2005. ‘Musikwettbewerb vs. Wettbewerbsmusik – Das Dilemma des Eurovision Song Contests’, in Keiner wird gewinnen, ed. Helms, D. and Phelps, T. (Bielefeld, Transcript), pp. 101–11)Google Scholar
Wolther, I. 2006. ‘Kampf der Kulturen’. Der Eurovision Song Contest als Mittel national-kultureller Repräsentation (Würzburg, Königshausen & Neumann)Google Scholar
Yair, G., and Maman, D. 1996. ‘The persistent structure of hegemony in the Eurovision Song Contest’, Acta Sociologica, 39/3, 309–25CrossRefGoogle Scholar