One thing foreigners notice about ordinary German pop music is its march-like (oom-pa) character and lack of syncopation. Invariably, the thought springs to the foreigner's mind that the music practically invites you to goose-step.
But that's not the response among Germans, at least not the ones you're likely to be hanging out with. Their pop sings are designed to allow simple, salt-of-the-earth people to sing along, lock arms, and rhythmically sway to the music -- a process called schunkeln. Schunkeln is fun after 7 or so beers, but like most German amusements it can last a very long time and involves strict social control and coordination. If you added syncopation to the mix, nobody would know exactly when to sway, and before long there will be howls of 'Scheiße Negermusik!' and perhaps some good-natured bloodshed.
And it seems that Germans have always distrusted syncopated pop music (classical is another story, of course). From Open Culture, a list of rules imposed on a Czech saxophonist under Nazi occupation:
An aspiring tenor saxophone player living in Third Reich-occupied Czechoslovakia, Skvorecky had ample opportunity to experience the Nazis’ “control-freak hatred of jazz.” In the intro to his short novel The Bass Saxophone, he recounts from memory a set of ten bizarre regulations issued by a Gauleiter, a regional Nazi official, that bound local dance orchestras during the Czech occupation.
- Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
- In this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
- As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
- So-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
- Strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
- Also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);
- The double bass must be played solely with the bow in so-called jazz compositions;
- Plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;
- Musicians are likewise forbidden to make vocal improvisations (so-called scat);
- All light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.