Johann Strauss' father and son supplied the entertainment-addicted better classes with operetta melodies. The first German-language hits can be found in the numerous operettas that were successful in Vienna before 1900. Paul Lincke, postage stamp of the Deutsche Bundespost (1956) on the 10th anniversary of his death The original definition of Schlager, as it is etymologically founded, is extremely difficult today to attach to individual genres. Adorno said of the impact of the hit and its social function: "Schlager supplies those caught between the operation and the reproduction of labor with a substitute for feelings in general, which their contemporary revised ideal of the ego says they must have." In France and in the French-speaking part of Belgium, hits are not called “ chansons ”, contrary to German usage (this is rather an expression for songs with “literary aspirations”), and neither are “chansons à la mode” (this outdated expression may still be found in old lexicons), but “variétés”. Simple rhythms and melody sequences that are designed for quick recognition determine its character. Musically, the hit is mostly based on the prevailing dance form.
The hit seeks the mass audience by addressing dreams in the lyrics, which he repeats as "messages" in refrains. Its fast pace alone shows that it is more of a commodity than a permanent work of art. It is thus a product of industrial society. The invention of the gramophone and the emerging film industry quickly contributed to the spread of the hit. Schlager in a café chantant in Copenhagen, 1919 The invention of sheet music printing with types in the 16th century enabled the mass distribution of music across Europe for the first time, so that melodies such as Pavane de Spaigne, La Spagnoletta (or Españoleta, etc., the "little Spanish melody" ), La Follia and many others became well known. as a hymn with a new text or as a hidden musical basis for sacred figural music. Historically, from the end of the Middle Ages, there have been demonstrable joking or crude songs that circulated among the common people and were either ignored or assimilated by art music - e.g. Kluge / Götze already suspected that the image came from the striking lightning and was then transferred to politics and other areas from the mention in the newspaper criticism. The DWDS accepts as a musical newspaper criticisms and the dictionary of Kluge (1967) 1881, in which the word "as an expression of music criticism established, spread by the daily press," and then to other particular " current and effective phenomena (book, theater play, a rapidly departing product) ”was transferred. Linguistically, the expression “Schlager” can be traced back to Viennese, according to Duden “probably after the resounding success that is compared to a lightning strike”. In 1870, the term can be identified for the first time for particularly successful operetta numbers and popular musical plays. A systematic demarcation from other genres also proves to be difficult. There is no clear definition of Schlager in musicology and is described by individual authors as "difficult" and "not possible". 2.s - the split between Schlager and pop music.2.5 Economic miracle (around 1955 to around 1962).2.2 Rise through the mass media record, radio and sound film (1920–1933).
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