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he following study of American Country music in Vienna is a sketch of a marginally successful migrant popular music that illustrates how genres of popular music can be channeled and changed when they travel. The field work for this study was done during the fall of 1983 and summer of 1984, primarily in Vienna,1 where the peculiar selection of Country music records in the record department of a large store first drew my attention to the subject of Country music in Vienna as a topic for investigation. I followed up my surprise at this discovery by taking inventory of the Country music records available in different kinds of stores, to the radio, conducting many formal and informal interviews, and acting as a participant-observer by performing in Vienna's Country music clubs. In this essay, I will describe how the Viennese general populace and a few Country music fans are exposed to Country music, who its fans and local performers are, and what the music means to them. A majority of the popular songs consumed (heard on the radio or television or purchased as records or tapes) in contemporary Vienna have English-language texts. Most of these songs represent one or another kind of rock music, though others belong to the broad category of easy listening (also called middle-of-the-road and adult contemporary). A few are Country songs. It might seem surprising-even bizarre-that this music has had any impact in Austria, but Country music is known throughout the world and is very popular in many industrialized nations (Broderick 1972, Oermann 1984, Helt 1977, Helt and Mohring 1979, Salmoni 1980, Watson 1976, Jeier 1980 and Fuchs 1980). These include West Germany, where much of the pop music consumed in Austria is packaged. The real surprise is not that Country music can be heard in Vienna, but that its role there is quite limited.
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