“This could be just right for the sweaters of the world…”Sacro-Pop as young Catholic’s criticism of society and church

在其他媒体中，第一代和第二代之间的斗争以及第二次世界大战之后的斗争是在音乐领域进行的。许多出生于20世纪20年代和30年代的天主教徒，爵士乐被种族主义者谴责为“黑鬼音乐”。摇滚乐和流行音乐被认为不适合礼拜仪式，是德国文化的“美国化”。因此，这种音乐被认为是抗议和挑衅的媒介。最近的研究集中在（教会）政治和神学史上。在天主教青年文化中，音乐及其文本的价值只不过是一个微不足道的音符。但是，对于整整一代青少年和年轻人的语义、实践和情感来说，Sacro-pop音乐剧、青年服务中的新形式的崇拜、天主教青年协会（BDKJ）中的群体文化、他们对和平与环境运动的参与，由拉丁美洲的“解放神学”引发的早期非政府组织对以新的方式发明天主教具有开创性的影响。本研究项目分析了天主教的生产，从以下三个方面分析了《流行圣像》的演出和接受，包括对它的争议性讨论：1。短信-2。音乐- 3.关键话语。1.文本：圣俗音乐剧以一种发人深省的方式，将传统宗教语言的固有模式与同时代政治的主题结合起来：和平、全球正义、生态、性。在这种情况下，圣流行是一个新的，左翼天主教身份的重要媒介。 2.音乐：作为文本，音乐从一开始就备受争议。对于作曲家，音乐家和粉丝来说，这是II的实现。梵蒂冈的“aggiacento”，对“认识时代的迹象”这一概念的贡献。相反，保守派被说服去听不适合“真实的”崇拜的音乐。话语：在20世纪60年代中期，Sacro-Pop的反对者已经形成了一个巨大的否定和谴责阵线。他们声称，这是他们这一代人和他们的宗教风格，能够抵抗希特勒和纳粹德国，在第三赖希没有污染的情况下幸存下来，1945年后掌握了西德国的重建。相反，Sacro-Pop塑造和表达了这些群体的身份，这些群体通过强调他们的深刻不安而威胁到这种自给自足的立场。

Among other media, the struggle between the first- and second-generation of and after World War II was fought out in the field of music. By many Catholics born in the 1920s and 1930s, Jazz was racist denunciated as ‚nigger music‘. Rock and Pop were conceived as inappropriate for liturgy and as an ‚Americanization‘ of German culture. So this music was conceived as a medium of protest and provocation.Recent research was concentrated on (church) politics and history of theology. Music and its texts among Catholic youth culture haven’t been seen worth more than a marginal note. But for the semantics, the practice and the emotions of a whole generation of adolescents and young adults the Sacro-pop musicals, the new forms of worship in youth services, the group culture within the Catholic youth associations (BDKJ), their engagement in the peace- and environmental-movements, early NGOs triggered by the Latin American “Theology of liberation” had a ground-breaking effect to invent Catholicism in a new way.This research project analyses the production, performance, and reception of Sacro Pop, including its controversial discussion, within the following three dimensions: 1. Texts – 2. Music – 3. Critical discourse.1. Texts: Sacro-Pop musicals, in a provoking way, combined intrinsic patterns of traditional religious language with the topics of coeval politics: peace, global justice, ecology, sexuality. In this vein, Sacro Pop was a significant medium of a new, left winged Catholic identity. 2. Music: As the texts, the music has been controversial from the very beginning. For the composers, the musicians and the fans, it was an implementation of II. Vatican’s ‘aggiornamento’, a contribution to the emphatic notion of “recognizing the signs of the times”. Conservatives, instead, were convinced to listen to music unsuitable for ‘real’ worship.3. Discourse: In the middle of the 1960s, already, the adversaries of Sacro-Pop formed a massive front of disaffirmation and denunciation. They claimed a point of view that it had been their generation and their religious style, being able to resist against Hitler and Nazi Germany, surviving the Third Reich without contamination, mastering the rebuilding of Western Germany after 1945. Sacro-Pop, instead, shaped and expressed the identity of those groups, who threatened this self-sufficient standpoint by emphasizing their deep unrest.