This book is a social history of musical life in Berlin; it investigates the tangled relationship between music and politics in 20th-century Germany, emphasizing the division of Berlin's musical community between east and west in the early Cold War era.
This book is a social history of musical life in Berlin; it investigates the tangled relationship between music and politics in 20th-century Germany, emphasizing the division of Berlin's musical community between east and west in the early ...
Author: Elizabeth Janik
Category: Social Science
This book is a social history of musical life in Berlin; it investigates the tangled relationship between music and politics in 20th-century Germany, emphasizing the division of Berlin’s musical community between east and west in the early Cold War era.
If the battle to recompose German music in the late 1940s initially ended in a draw between east and west, then it is tempting to argue that American tradition was the ultimate victor of the greater musical Cold War.
Author: Elizabeth Janik
When the German Democratic Republic (GDR) was founded in 1949, its leaders did not position it as a new state. Instead, they represented East German socialism as the culmination of all that was positive in Germany's past. The GDR was heralded as the second German Enlightenment, a society in which the rational ideals of progress, Bildung, and revolution that had first come to fruition with Goethe and Beethoven would finally achieve their apotheosis. Central to this founding myth was the Germanic musical heritage. Just as the canon had defined the idea of the German nation in the nineteenth-century, so in the GDR it contributed to the act of imagining the collective socialist state. Composing the Canon in the German Democratic Republic uses the reception of the Germanic musical heritage to chart the changing landscape of musical culture in the German Democratic Republic. Author Elaine Kelly demonstrates the nuances of musical thought in the state, revealing a model of societal ascent and decline that has implications that reach far beyond studies of the GDR itself. The first book-length study in English devoted to music in the GDR, Composing the Canon in the German Democratic Republic is a seminal text for scholars of music in the Cold War and in Germany more widely.
Regarding the Sing-Akademie, see Applegate, “Saving Music,” 222. For a broader picture of the hardships endured by concert audiences in Berlin see Janik, Recomposing German Music, 126. Speier, From the Ashes of Disgrace, 22.
Author: Elaine Kelly
Publisher: Oxford University Press
***Angaben zur beteiligten Person Massow: Albrecht von Massow ist Professor für Musikwissenschaft an der Hochschule für Musik FRANZ LISZT Weimar.
... a move no doubt inspired by recent studies exploring the efforts of the Allied and West German authorities to control music in the Federal Republic . 14 Thus Elizabeth Janik's Recomposing German Music : Politics and Musical ...
Author: Nina Noeske
Publisher: Böhlau Verlag Köln Weimar
Category: Cold War
At the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond 'do-re-mi'. This had a direct bearing on Einstürzende Neubauten's musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. Einstürzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.
3 J. Hermand & M. Gilbert (eds) German essays on Music (New York: Continuum, 1994); Celia Applegate & Pamela Potter, Music and German National identity (Chicago: Chicago University Press, 2002); Elizabeth Janik, Recomposing German ...
Author: Jennifer Shryane
Approaches the topic of classical music in the GDR from an interdisciplinary perspective, questioning the assumption that classical music functioned purely as an ideological support for the state.
For a discussion on how the musical power relationship played out in later years, see Janik, Recomposing German Music. 13 Cited in Janik, “Golden Hunger Years,” 80. See also the discussion of Gustav Leuteritz, who vehemently took up the ...
Author: Kyle Frackman
Publisher: Boydell & Brewer
When considering the role music played in the major totalitarian regimes of the century it is music's usefulness as propaganda that leaps first to mind. But as a number of the chapters in this volume demonstrate, there is a complex relationship both between art music and politicised mass culture, and between entertainment and propaganda. Nationality, self/other, power and ideology are the dominant themes of this book, whilst key topics include: music in totalitarian regimes; music as propaganda; music and national identity; émigré communities and composers; music's role in shaping identities of 'self' and 'other' and music as both resistance to and instrument of oppression. Taking the contributions together it becomes clear that shared experiences such as war, dictatorship, colonialism, exile and emigration produced different, yet clearly inter-related musical consequences.
13 For the texts of both documents, see Nicolas Slonimsky, Music since 1900, 4th edn, London: Cassell, 1972, p. 29. 14 Elizabeth Janik, Recomposing German Music: Politics and Musical Tradition in Cold War Berlin, Leiden and Boston: ...
Author: Pauline Fairclough
This book questions the conventional wisdom about one of the most controversial episodes in the Cold War, and tells the story of the CIA's backing of the Congress for Cultural Freedom. For nearly two decades during the early Cold War, the CIA secretly sponsored some of the world’s most feted writers, philosophers, and scientists as part of a campaign to prevent Communism from regaining a foothold in Western Europe and from spreading to Asia. By backing the Congress for Cultural Freedom, the CIA subsidized dozens of prominent magazines, global congresses, annual seminars, and artistic festivals. When this operation (QKOPERA) became public in 1967, it ignited one of the most damaging scandals in CIA history. Ever since then, many accounts have argued that the CIA manipulated a generation of intellectuals into lending their names to pro-American, anti-Communist ideas. Others have suggested a more nuanced picture of the relationship between the Congress and the CIA, with intellectuals sometimes resisting the CIA's bidding. Very few accounts, however, have examined the man who held the Congress together: Michael Josselson, the Congress’s indispensable manager—and, secretly, a long time CIA agent. This book fills that gap. Using a wealth of archival research and interviews with many of the figures associated with the Congress, this book sheds new light on how the Congress came into existence and functioned, both as a magnet for prominent intellectuals and as a CIA operation. This book will be of much interest to students of the CIA, Cold War History, intelligence studies, US foreign policy and International Relations in general.
73 Nabokov, Old Friends and New Music, pp. 217–18. 74 Janik, Recomposing German Music, pp. 131–4. 75 “Appendix to minutes of 17 November 1947,” December 2, 1947, in RG 84, Records of Foreign Service Posts, Germany: US Mission Berlin, ...
Author: Sarah Miller Harris
Category: Political Science
As the seat of Hitler’s government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war’s end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.
Max Butting, Musikgeschichte, die ich miterlebte (Berlin: Henschel, 1955), 265. 16. Ibid., 225–26. 17. Ibid., 225. For more on the November Group, see Elizabeth Janik, Recomposing German Music: Politics and Musical Tradition in Cold War ...
Author: Abby Anderton
Publisher: Indiana University Press
Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany presents opera as a site for the renegotiation of tradition in a politically fraught era of rebuilding. Though the "Zero Hour" put a rhetorical caesura between National Socialism and postwar West Germany, the postwar era was characterized by significant cultural continuity with the past. With nearly all of the major opera houses destroyed and a complex relationship to the competing ethics of modernism and restoration, opera was a richly contested art form, and the genre's reputed conservatism was remarkably multi-faceted. Author Emily Richmond Pollock explores how composers developed different strategies to make new opera "new" while still deferring to historical conventions, all of which carried cultural resonances of their own. Diverse approaches to operatic tradition are exemplified through five case studies in works by Boris Blacher, Hans Werner Henze, Carl Orff, Bernd Alois Zimmermann, and Werner Egk. Each opera alludes to a distinct cultural or musical past, from Greek tragedy to Dada, bel canto to Berg. Pollock's discussions of these pieces draw on source studies, close readings, unpublished correspondence, institutional history, and critical commentary to illuminate the politicized artistic environment that influenced these operas' creation and reception. The result is new insight into how the particular opposition between a conservative genre and the idea of the "Zero Hour" motivated the development of opera's social, aesthetic, and political value after World War II.
See also Celia Applegate, “Saving Music,” in The Necessity of Music: Variations on a German Theme, 296–313 (Toronto: University of Toronto Press, 2017); and Janik, Recomposing German Music. For music as a part of German cities' ...
Author: Emily Richmond Pollock
Publisher: Oxford University Press, USA