ABOUT German Schlager Music 

Boeremusiek is a folk music style in South Africa and Namibia. It comes from European musical traditions and is cultivated by the Boers. It is closely linked to the Boer dance form Sokkie. Boeremusiek is a light, happy and simply structured dance music that is played by bands (Boereorkes; German for example: "Burenorchester"). It is performed for dance or at festivals. The focus is on the concertina, which is played in many variations, or the accordion. In addition, piano and harmonium, but also guitar, bass guitar, double bass and banjo are used. The melodies are played in major keys. The dances include Scottish, Polka, Waltz, Mazurka, Quadrille and Vastrap. The vastrap originated in South Africa and is a kind of quick step. Well-known interpreters include Klipwerk Orkes and Klipwerk Lêplek, Danie Gray, Hennie de Bruyn en die Kitaarkêrels and Nico Carstens (1926–2016), whose piece Zambezi, composed in the 1950s, became internationally known, including through recordings by Acker Bilk and James Last. Most of the time the music is played by men, often at an advanced age. Boeremusiek is occasionally combined with rock music, hip hop and other styles of music. The use of the concertina remains typical. In the 19th century, there were British military bands in the Cape Colony, which also played to dance. The music was recorded and adapted by the South African Boers. The concertina played a major role: In 1902 alone, 97,315 concertinas were introduced from Germany. In the 1930s, records with Boeremusiek were recorded for the first time, including by the Vyf Vastrappers ("Fünf Vastraper"), the Vier Transvaalers ("Vier Transvaalers") ) and the Ses Hartbrekers ("Six Heartbreakers"). In the 1970s the Boeremusiek lost its popularity. As a countermeasure, the Konsertinaklub van Suid-Afrika, later Tradisionele Boeremusiekklub van Suid-Afrika, was founded in 1981 ("Traditional Boeremusiekklub von South Africa"). It represents the traditional form of Boeremusiek. The actual reason for the foundation was the desire to provide the grave of the musician Faan Harris with a tombstone. In 1989 the Boeremusiekgilde van Suid-Afrika ("Boeremusiekgilde von South Africa"), the Boeremusiek in al sy forme ("in all variants"), through to the use of electrical instruments

Afrikaans music was primarily influenced by Dutch folk styles, along with French and German influences, in the early twentieth century. Zydeco-type string bands led by a concertina were popular, as were elements of American country music, especially Jim Reeves. The most prolific composers of "tiekie draai" Afrikaans music were lyricist Anton De Waal who wrote many hit songs with songwriters, pianist Charles Segal ("Hey Babariebab Se Ding Is Vim", "Kalkoenjie", "Sy Kom Van Kommetjie" and many others) and accordionist, Nico Carstens. Bushveld music based on the Zulu were reinterpreted by such singers as Marais and Miranda. Melodramatic and sentimental songs called trane trekkers (tearjerkers) were especially common. In 1973, a country music song won the coveted SARI Award (South African Music Industry) for the Song of the Year – "My Children, My Wife" was written by renowned South African composer Charles Segal and lyricist Arthur Roos. In 1979 the South African Music scene changed from the Tranetrekkers to more lively sounds and the introduction of new names in the market with the likes of Anton Goosen, David Kramer (singer), Koos du Plessis, Fanie de Jager, Flaming Victory and Laurika Rauch. Afrikaans music is currently one of the most popular and best selling industries on the South African music scene. Waptrendz is a big collection of the Afrikaans music.

After World War I, Afrikaner nationalism spread and such musicians as Jewish pianist and composer Charles Segal and accordionist Nico Carstens were popular.

Pop rock (also typeset as pop/rock) is rock music with a greater emphasis on professional songwriting and recording craft, and less emphasis on attitude. Originating in the late 1950s as an alternative to normal rock and roll, early pop rock was influenced by the beat, arrangements, and original style of rock and roll (and sometimes doo-wop It may be viewed as a distinct genre field rather than music that overlaps with pop and rock The detractors of pop rock often deride it as a slick, commercial product and less authentic than rock music.

Much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms "pop rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music. Writer Johan Fornas views pop/rock as "one single, continuous genre field", rather than distinct categories. To the authors Larry Starr and Christopher Waterman, it is defined as an "upbeat variety of rock music" represented by artists and bands such as: Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton.

The term pop has been used since the early twentieth century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible.

As of the 2010s, "guitar pop rock" and "indie rock" are roughly synonymous terms."Jangle" is a noun-adjective that music critics often use in reference to guitar pop with a bright mood.

Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims that in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American music influenced by forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock, is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars, such as Simon Frith and Grossberg, argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial", and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".

Simon Frith's analysis of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and other scholars have over-emphasized the role of rock in the history of popular music by naming every new genre using the "rock" suffix. Thus when a folk-oriented style of music developed in the 1960s, Frith termed it "folk rock", and the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock at the apex and makes every other influence become an add-on to the central core of rock.

In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau discussed the term "pop-rock" in the context of popular music's fragmentation along stylistic lines in the 1970s; he regarded "pop-rock" as a "monolith" that "straddled" all burgeoning movements and subgenres in the popular and semipopular music marketplace at the time, including singer-songwriter music, art rock, heavy metal, boogie, country rock, jazz fusion, funk, disco, urban contemporary, and new wave, but not punk rock.

Disco is a genre of dance music and a subculture that emerged in the 1970s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, horns, electric piano, synthesizers, and electric rhythm guitars.

Disco started as a mixture of music from venues popular with Italian Americans, Hispanic and Latino Americans and African Americans,in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction by the 1960s counterculture to both the dominance of rock music and the stigmatization of dance music at the time. Several dance styles were developed during the period of disco's popularity in the United States, including "the Bump" and "the Hustle".

In the course of the 1970s, disco music was developed further mainly by artists from the United States and Europe. Well-known artists include ABBA, the Bee Gees, Donna Summer, Gloria Gaynor, Giorgio Moroder, Boney M., Earth Wind & Fire, Chaka Khan, Chic, KC and the Sunshine Band, Thelma Houston, Sister Sledge, The Trammps and the Village People. While performers garnered public attention, record producers working behind the scenes played an important role in developing the genre. By the late 1970s, most major U.S. cities had thriving disco club scenes, and DJs would mix dance records at clubs such as Studio 54 in Manhattan, a venue popular among celebrities. Nightclub-goers often wore expensive, extravagant, and sexy fashions. There was also a thriving subculture in the disco scene, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and Quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were also associated with promiscuity as a reflection of the sexual revolution of this era in popular history. Films such as Saturday Night Fever (1977) and Thank God It's Friday (1978) contributed to disco's mainstream popularity.

Disco declined as a major trend in popular music in the United States following the infamous Disco Demolition Night, and it continued to sharply decline in popularity in the U.S. during the early 1980s; however, it remained popular in Italy and some European countries throughout the 1980s, and during this time also started becoming trendy in places elsewhere including India and the Middle East,where they were blended with regional folk styles such as ghazals and belly dancing. Disco would eventually become a key influence in the development of electronic dance music, house music, hip-hop, new wave, dance-punk, and post-disco. The style has had several newer scenes since the 1990s, and the influence of disco remains strong across American and European pop music. A current revival has been underway since the early 2010s, coming to great popularity in the early 2020s. Albums that have contributed to this revival include Confessions On A Dance Floor, Random Access Memories, The Slow Rush, Cuz I Love You, Future Nostalgia, Hey U X, What's Your Pleasure?, It Is What It Is, and Kylie Minogue's album itself titled Disco.

In the early years, dancers in discos danced in a "hang loose" or "freestyle" approach. At first, many dancers improvised their own dance styles and dance steps. Later in the disco era, popular dance styles were developed, including the "Bump", "Penguin", "Boogaloo", "Watergate" and "Robot". By October 1975 the Hustle reigned. It was highly stylized, sophisticated and overtly sexual. Variations included the Brooklyn Hustle, New York Hustle and Latin Hustle.

During the disco era, many nightclubs would commonly host disco dance competitions or offer free dance lessons. Some cities had disco dance instructors or dance schools, which taught people how to do popular disco dances such as "touch dancing", "the hustle", and "the cha cha". The pioneer of disco dance instruction was Karen Lustgarten in San Francisco in 1973. Her book The Complete Guide to Disco Dancing (Warner Books 1978) was the first to name, break down and codify popular disco dances as dance forms and distinguish between disco freestyle, partner and line dances. The book topped the New York Times bestseller list for 13 weeks and was translated into Chinese, German and French.

In Chicago, the Step By Step disco dance TV show was launched with the sponsorship support of the Coca-Cola company. Produced in the same studio that Don Cornelius used for the nationally syndicated dance/music television show, Soul Train, Step by Step's audience grew and the show became a success. The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs. The instructional show aired on Saturday mornings and had a strong following. The viewers of this would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized dance steps. The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park".

In Sacramento, California, Disco King Paul Dale Roberts danced for the Guinness Book of World Records. Roberts danced for 205 hours which is the equivalent of 8 ½ days. Other dance marathons took place after Roberts held the world's record for disco dancing for a short period of time.

Some notable professional dance troupes of the 1970s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for 1970s disco dancing was the film Saturday Night Fever (1977). This developed into the music and dance style of such films as Fame (1980), Disco Dancer (1982), Flashdance (1983), and The Last Days of Disco (1998). Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever (1979).

 Country (also called country and western) is a genre of popular music that originated with blues, church music such as Southern gospel and spirituals, old-time, and American folk music forms including Appalachian, Cajun, Creole, and the cowboyWestern music styles of New Mexico, Red Dirt, Tejano, and Texas country. Its popularized roots originate in the Southern and Southwestern United States of the early 1920s.

Country music often consists of ballads and dance tunes with generally simple forms, folk lyrics, and harmonies often accompanied by string instruments such as banjos, electric and acoustic guitars, steel guitars (such as pedal steels and dobros), and fiddles as well as harmonicas.Blues modes have been used extensively throughout its recorded history.