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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.
List of contents
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
About the author
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).
Thomas Irvine is Associate Professor of Music at the University of Southampton. He has published widely in leading musicology journals in English and German. His book Listening to China: Sound and the Sino-Western Encounter, 1770-1839 is published by University of Chicago Press.
Summary
Why is Germany imagined as the 'land of music'? How has that image been made over time? Exploring examples that range from Bruckner to the Beatles, from classical song to sex-club dance music, a team of historians and musicologists explores these perennial questions in innovative and exciting ways.
