Can music be political? Germans have long claimed the symphony as a
pillar of their modern national culture. By 1900, the critical
discourse on music, particularly symphonies, rose to such
prominence as to command front-page news. With the embrace of the
Great War, the humiliation of defeat, and the ensuing economic
turmoil, music evolved from the most abstract to the most political
of the arts. Even Goebbels saw the symphony as a tool of
propaganda. More than composers or musicians, critics were
responsible for this politicization of music, aspiring to change
how music was heard and understood. Once hailed as a source of
individual heroism, the symphony came to serve a communal vision.
Karen Painter examines the politicization of musical listening
in Germany and Austria, showing how nationalism, anti-Semitism,
liberalism, and socialism profoundly affected the experience of
serious music. Her analysis draws on a vast collection of writings
on the symphony, particularly those of Mahler and Bruckner, to
offer compelling evidence that music can and did serve ideological
ends. She traces changes in critical discourse that reflected but
also contributed to the historical conditions of the "fin de
siecle," World War I, and the Nazi regime.
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