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This article discusses the thesis that popular music in early twentieth-century Germany was Americanised by shifting the focus from the meaning and reception of music to the way it was produced and disseminated by professionals, from music publishers and composers to bandleaders and critics. Firstly, it stresses a key difference in the way the music business was modernised on both sides of the Atlantic around 1900. While in the US the sheet-music trade became ‘Taylorised’, the music business in Germany, as elsewhere in Continental Europe, was transformed into a rights industry. Secondly, the paper highlights the prominence of Austrian music producers and their repertoire in Germany and suggests that, at least in a business sense, popular music in Germany was Austrianised rather than Americanised. Thirdly, it proposes that ‘Jazz’ after the First World War was hardly a straightforward import of American culture, but a site where incumbents and newcomers to the music profession struggled for position. [ABSTRACT FROM PUBLISHER]