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01/2014 Music



"Farting is better than singing in a choir" – that, at least, is what Franziska Gehm and Horst Klein postulate in their picture book Benimm dich – bloß nicht!, appropriately depicting an obviously cheerful boy combining both practices simultanously – to the dismay of his equally obviously conservative-grim fellow singers. Music in children’s literature appears

in different guises: innertextually as a manifestation of conservatism (as with Gehm and Klein) but also as a sign of joie de vivre and of breaking out of restrictive modes of life, or as a focal point for longing and world-weariness: “A humpback whale, immensely long,/Who sang to the snail a wonderful song/Of shimmering ice and coral caves/And shooting stars and enormous waves” ( Julia Donaldson, The Snail and the Whale). Pretextually, music primarily finds positive connotations in the various song books for children which try to realize the perceived treasure of folk music for children, and develops ever new forms of expression with children’s songwriters and the subsequent record production, (interactive) concerts and music workshops.

So how does music present itself in children’s literature? In the current issue of interjuli, our authors engage with this topic from different points of view: We shed light on the changes in the depiction of Mozart in children’s books of the last decades (Andreas Wicke), the role of music in literary adolescence (Elizabeth Braithwaite) and the presentation of music in literature on deafness (Marion Rana). Further, in his interview with interjuli, children’s song writer Fredrik Vahle explains his lingustic-literary approach to children’s songs, the influence of rhythm on literature and the changes in the children’s music scene of the last decades.




Universität und Schule/University and School