Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
For many centuries, Germany has enjoyed a reputation as the ‘land of music’. But just how was this reputation established and transformed over time, and to what extent was it produced within or outside of Germany? Through case studies that range from Bruckner to the Beatles and from symphonies to dance-club music, this volume looks at how German musicians and their audiences responded to the most significant developments of the twentieth century, including mass media, technological advances, fascism, and war on an unprecedented scale.
“Gregor and Irvine have assembled a collection that ably reflects new directions in research on music and its ties to notions of Germanness that have emerged over the past twenty-odd years. Especially welcome is the collective attention to notions of musical practice and experience as well as the authors’ catholic approach to music’s very definition. Well-written, informative, and frequently suggestive of themes that warrant further attention, the essays are sure to attract a broad, multidisciplinary readership.” • Journal of Modern History
“This collection achieves the aims as formulated in the introduction. Especially the articles on affective practices as well the inherent tensions between the regional and the national are very convincing.” • Francia
“[This volume] is a terrific contribution to scholarship examining the relationship between music and German national identity in the twentieth century…[It] offers a strong blueprint for those wishing to conduct research on music’s complicated role in German history. The authors convincingly demonstrate the topic’s elasticity, flexibility and breadth while also covering new ground. The book will also be an accessible and thoroughly enjoyable read for historians wishing to acquaint themselves with the field and assign new material in their courses.” • German History
“A wonderful anthology that connects the European classical tradition with popular music in fascinating ways. It is a pleasure to read.” • Ulrich Adelt, University of Wyoming
Neil Gregor is Professor of Modern European History at the University of Southampton. His past books include Daimler-Benz in the Third Reich (winner of the 1998 Fraenkel Prize for History), Haunted City: Nuremberg and the Nazi Past (winner of the 2008 Fraenkel Prize for History), and How to Read Hitler (new edition, 2014).
List of Figures and Tables
Acknowledgments
Introduction
Neil Gregor and Thomas Irvine
PART I: SPACES AND MOMENTS OF AFFECT
Chapter 1. “The German in the Concert Hall”: Concertgoing and National Belonging in the Early Twentieth Century
Hansjakob Ziemer
Chapter 2. “Music Made in Hamburg”: How One City’s Music Scene Helped Make Rock and Roll the Lingua Franca of Youth
Julia Sneeringer
Chapter 3. “With Every Inconceivable Finesse, Excess, and Good Music”: Sex, Affect, and Techno at Snax Club in Berlin
Luis-Manuel Garcia
PART II: THE LOCAL, THE REGIONAL, THE NATIONAL
Chapter 4. Bruckner, Munich, and the Longue Durée of Musical Listening between the Imperial and Postwar Eras
Neil Gregor
Chapter 5. Female Musicians and “Jewish” Music in the Jewish Kulturbund in Bavaria, 1934–38 123
Dana Smith
Chapter 6. Pride of Place: The 1963 Rebuilding of the Munich Nationaltheater
Emily Richmond Pollock
PART III: GLOBALIZING MUSICAL GERMANNESS
Chapter 7. Was ist Japanisch? Wagnerism and Dreams of Nationhood in Modern Japan
Brooke McCorkle
Chapter 8. Hubert Parry, Germany, and the “North”
Thomas Irvine
PART IV: FANTASIES, REMINISCENCES, DREAMS, NIGHTMARES
Chapter 9. Between Musicology and Mythology at the Stunde Null:Austria’s 950th “Birthday” and the 50th Anniversary of Bruckner’s Death
Lap-Kwan Kam
Chapter 10. Hearing the Nazi Past in the German Democratic Republic: Antifascist Fantasies, Acoustic Realities, and Haunted
Memories in Georg Katzer’s Aide –Mémoire (1983)
Martha Sprigge
Chapter 11. Sprockets + Autobahn: Kraftwerk Parodies, German Electronic Music, and Retro Dreams in Amerika
Sean Nye
Index