Settling Scores: German Music, Denazification, and the Americans, 1945-1953

Univ of North Carolina Press, 8 mars 2006 - 344 pages
Classical music was central to German national identity in the early twentieth century. The preeminence of composers such as Bach and Beethoven and artists such as conductor Wilhelm Furtwangler and pianist Walter Gieseking was cited by the Nazis as justification for German expansionism and as evidence of Aryan superiority. In the minds of many Americans, further German aggression could be prevented only if the population's faith in its moral and cultural superiority was shattered. In Settling Scores, David Monod examines the attempted "denazification" of the German music world by the Music Control Branch of the Information Control Division of Military Government.

The occupying American forces barred from the stage and concert hall all former Nazi Party members and even anyone deemed to display an "authoritarian personality." They also imported European and American music. These actions, however, divided American officials and outraged German audiences and performers. Nonetheless, the long-term effects were greater than has been previously recognized, as German government officials regained local control and voluntarily limited their involvement in artistic life while promoting "new" (anti-Nazi) music.


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Table des matières

1 Preparing for Music Control
Denazification and Revolution 1945
3 Reforming Music Culture 19451946
Wilhelm Furtwängler and the End of Denazification
The Retreat from Reform 19471950
American Artists in Cold War Germany 19481953
A New Day in Beulah
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Page 1 - But Strauss is a genius and some of his works are masterpieces. I cannot in all honesty boycott masterpieces because I detest their composer.

À propos de l'auteur (2006)

David Monod is professor of history at Wilfrid Laurier University, Waterloo, Ontario. He is author of Store Wars: Retailers and the Culture of Mass Marketing, 1890-1939.

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