Helene Fischer by Conrad Lerchenfeldt

By Conrad Lerchenfeldt

Helene Fischer ist ein Phänomen innerhalb der deutschen Musiklandschaft. Innerhalb kürzester Zeit ist sie vom Newcomer zum absoluten star der Schlager- und Volksmusikszene aufgestiegen. Ihre Plattenverkäufe gehen weit in die Millionen, sie hat alle wichtigen Auszeichnungen des Showgeschäfts wie Bambi, ECHO, Goldene Henne, Goldene Kamera oder Krone der Volksmusik teilweise mehrfach erhalten.
Doch wer ist diese attraktive Frau, die mit ihren Eltern im zarten modify von vier Jahren aus der damaligen Sowjetunion nach Deutschland übersiedelt ist? Wie entstehen die Ideen für ihre Musik? Worin liegt das Geheimnis ihres Erfolgs? Der renommierte Musikjournalist Conrad Lerchenfeldt hat sich an ihre Fersen geheftet, um das Geheimnis ihres Erfolgs zu erkunden und endlich die erste Biografie über Helene Fischer zu schreiben. Ein Muss für alle lovers!

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These examples and the issues they raise also provide the context in which the questions of the need for and impossibility of music about music are developed in Chapters Three and Four. Chapter Two Hearing the Possibility of Music about Music: Five Pieces 1. Handel’s Ode for St. Cecilia’s Day. A Celebration of the Musicality of the Divine To honor the patron saint of music, St. Cecilia’s Day was regularly observed in London on November 22 from 1683 to 1703, and sporadically in a few other English cities.

Indeed, the independent reality of one of them would be attenuated if they were so joined. This reticence protects the process and the power driving it from being construed as a natural, humanly comprehensible one. Handel’s procedure stands in contrast to monism and dualism, both of which, different as they are, rationalize the change from non-world to world. He could, of course, have built a structure in 42 which the change itself was metaphorically exemplified. Because the chorus’s opening does not seem arbitrary, though it is not musically prepared either, the power of music itself is as inscrutable—as little susceptible to discursive explanation—as that for which it is a metaphor.

A. Howard, “On Musical Expression” in Catherine Z. , Nelson Goodman’s Theory of Art (New York, 1997), pp. 310-33. 10 11 Languages of Art (Indianapolis, 1968), p. 53. , pp. 68-69, 86 23 the analysis of meta-music that follows here. For them, non-literal possession is non-possession. In their thinking, metaphors are nothing but similes from which the word “like” has been dropped, and the power of a metaphor is that it calls attention to a hitherto unnoticed similarity; it challenges the mind to rethink both the metaphorical subject and the metaphorical object so that their hidden resemblance may come out into the open.

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