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Music in Cold War Berlin: German tr...

Janik, Elizabeth Koch.

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Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951./
作者:	Janik, Elizabeth Koch.
面頁冊數:	408 p.
附註:	Mentor: Roger Chickering.
Contained By:	Dissertation Abstracts International62-09A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3025081
ISBN:	0493368159

Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951.
Janik, Elizabeth Koch.

Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951. - 408 p.

Mentor: Roger Chickering.

Thesis (Ph.D.)--Georgetown University, 2001.

Elite German musical tradition of the 19<super>th</super> century was grounded upon four principles: the leading role of the educated bourgeoisie; an ambiguous relationship to the state; belief that music was both a particularly sacred and German form of artistic expression; and finally, a faith in music-historical progress. This tradition was not static, however. By the early 20<super>th </super> century, broad changes in German politics and society resulted in diverse, often conflicting views of the musical future. The National Socialist cultural experiment, based upon state coordination and a racial conception of the German nation, ended in bankruptcy in 1945.

ISBN: 0493368159Subjects--Topical Terms:

1018076
History, European.

Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951.
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245 1 0 $a Music in Cold War Berlin: German tradition and Allied occupation, 1945--1951.
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500 $a Mentor: Roger Chickering.
500 $a Source: Dissertation Abstracts International, Volume: 62-09, Section: A, page: 3153.
502 $a Thesis (Ph.D.)--Georgetown University, 2001.
520 $a Elite German musical tradition of the 19<super>th</super> century was grounded upon four principles: the leading role of the educated bourgeoisie; an ambiguous relationship to the state; belief that music was both a particularly sacred and German form of artistic expression; and finally, a faith in music-historical progress. This tradition was not static, however. By the early 20<super>th </super> century, broad changes in German politics and society resulted in diverse, often conflicting views of the musical future. The National Socialist cultural experiment, based upon state coordination and a racial conception of the German nation, ended in bankruptcy in 1945.
520 $a After the Second World War, these tensions combined with the influence of rival American and Soviet cultural policies and the onset of Cold War. As Germany's prewar musical capital and the postwar headquarters of Allied military occupation, Berlin assumed a pivotal role in the contest over German musical tradition. The city's musical life was initially characterized by consensus over music's role as an agent of postwar reconciliation, celebration of the German classical masters, and rehabilitation of the Weimar-era New Music. By the end of the 1940s, however, differences between East and West were unmistakable. The Allied military governments and their German adherents emphasized very different elements of past tradition as a guidepost for the future.
520 $a The Soviets underscored the role of the musical amateur and state intervention; music was a means to educate and uplift the German people. American occupation authorities, on the other hand, understood music to be an apolitical, “absolute” art, and they placed special emphasis on initiatives of the German avant-garde. Occupied Berlin became a crucible for rival musical understandings. A Western vision of musical progress, which purported to be driven by aesthetic considerations alone, stood opposed to the Eastern notion of music as a product of social and economic forces, in which musical progress could measured by the transfer of cultural authority from the bourgeoisie to the working class.
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