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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Music after Hitler, 1945-1955 (Paperback)
Loot Price: R1,593
Discovery Miles 15 930
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Music after Hitler, 1945-1955 (Paperback)
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The political control of music in the Third Reich has been analysed
from several perspectives, and with ever increasing sophistication.
However, music in Germany after 1945 has not received anything like
the same treatment. Rather, there is an assumption that two
separate musical cultures emerged in East and West alongside the
division of Germany into two states with differing economic and
political systems. There is a widely accepted view of music in West
Germany as 'free', and in the East subject to party control. Toby
Thacker challenges these assumptions, asking how and why music was
controlled in Germany under Allied Occupation from 1945-1949, and
in the early years of 'semi-sovereignty' between 1949 and 1955. The
're-education' of Germany after the Hitler years was a unique
historical experiment and the place of music within this is
explored here for the first time. While emphasizing political,
economic and broader social structures that influenced the
production and reception of different musical forms, the book is
informed by a sense of human agency, and explores the role of
salient individuals in the reconstruction of music in post-war
Germany. The focus is not restricted to any one kind of music, but
concentrates on those aspects of music, professional and amateur,
live and recorded, which appeared to be the mostly highly charged
politically to contemporaries. Particular attention is given to
'denazification' and to the introduction of international music.
Thacker traces the development of a divide between Communist and
liberal-democratic understandings of the place of music in society.
The contested celebrations of the Bach Year in 1950 are used to
highlight the role of music in the broader cultural confrontation
between East and West. Thacker examines the ways in which central
governments in East and West Germany sought to control and
influence music through mechanisms of censorship and positive
support. The book will therefore be of interest not only to
musicologists, but also to specialists in German post-war history
and cultural historians in general.
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