Christian Broecking

Berlin, Germany, 2013

Christian Broecking (born 5 June 1957) is a German sociologist and musicologist, music critic, columnist, writer, editor, producer and author known for his jazz criticism and his book The Marsalis-Factor.


Christian Broecking was born in Flensburg. He studied sociology and musicology at the Free University of Berlin, Germany.[1] He holds a Ph.D. (Dr. phil.) from Technische Universität Berlin. His 2011 dissertation was titled "The Marsalis-Nexus: Studies in the Societal Relevance of Afro-American Jazz, 1992-2007".[2] Broecking served as the founding program director for Berlin jazz radio from 1994 to 1998.[1] His books "The Marsalis-factor" (Der Marsalis Faktor, 1995),[3] "Respect!" (Respekt!, 2004),[4] "Black Codes" (Black Codes, 2005)[5] and "We are here to save lives" (Jeder Ton eine Rettungsstation, 2007)[6] were highly acclaimed. His published articles on music and cultural studies have appeared in scholarly journals and edited volumes, he holds columns in several daily newspapers in Germany and serves as a staff writer for the online music section of Die Zeit. He is doing radio features on jazz and African American culture for German public radio since 1995, currently he is teaching musicology at Ruprecht-Karls-Universität Heidelberg, Johann Wolfgang Goethe-Universität Frankfurt, Winterthurer Institut für aktuelle Musik, Berlin Institute of Technology and Carl von Ossietzky University of Oldenburg. Currently he is a senior research assistant at Hochschule Luzern. Broecking is the founder and publisher of the Broecking Verlag. Solo Exhibition "Visualizing Respect", Gallery Zellermayer, Berlin 2012.[7] Broecking conceptualized and convened the international conferences "Lost in Diversity. A transatlantic dialogue on the societal relevance of jazz" (2012)[8] and "Vision, Perception, Friction: How Jazz Became Art and Attack(ed) – A Transatlantic Dialogue" (2013) at the Heidelberg Center for American Studies, Germany.[9] At Darmstädter Jazzforum 2013 Broecking lectured „Not Black enough? Debating jazz in the Post-Black time space".[10]



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