File Size: 785 KB
File Format: Pdf
Read Count: 5746772
This is a groundbreaking study of the prestigious Berlin and Vienna Philharmonics during the Third Reich. Making extensive use of archival material, including some discussed here for the first time, Fritz Trümpi offers new insight into the orchestras’ place in the larger political constellation. Trümpi looks first at the decades preceding National Socialist rule, when the competing orchestras, whose rivalry mirrored a larger rivalry between Berlin and Vienna, were called on to represent “superior” Austro-German music and were integrated into the administrative and social structures of their respective cities—becoming vulnerable to political manipulation in the process. He then turns to the Nazi period, when the orchestras came to play a major role in cultural policies. As he shows, the philharmonics, in their own unique ways, strengthened National Socialist dominance through their showcasing of Germanic culture in the mass media, performances for troops and the general public, and fictional representations in literature and film. Accompanying these propaganda efforts was an increasing politicization of the orchestras, which ranged from the dismissal of Jewish members to the programming of ideologically appropriate repertory—all in the name of racial and cultural purity. Richly documented and refreshingly nuanced, The Political Orchestra is a bold exploration of the ties between music and politics under fascism.
Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany presents opera as a site for the renegotiation of tradition in a politically fraught era of rebuilding. Though the "Zero Hour" put a rhetorical caesura between National Socialism and postwar West Germany, the postwar era was characterized by significant cultural continuity with the past. With nearly all of the major opera houses destroyed and a complex relationship to the competing ethics of modernism and restoration, opera was a richly contested art form, and the genre's reputed conservatism was remarkably multi-faceted. Author Emily Richmond Pollock explores how composers developed different strategies to make new opera "new" while still deferring to historical conventions, all of which carried cultural resonances of their own. Diverse approaches to operatic tradition are exemplified through five case studies in works by Boris Blacher, Hans Werner Henze, Carl Orff, Bernd Alois Zimmermann, and Werner Egk. Each opera alludes to a distinct cultural or musical past, from Greek tragedy to Dada, bel canto to Berg. Pollock's discussions of these pieces draw on source studies, close readings, unpublished correspondence, institutional history, and critical commentary to illuminate the politicized artistic environment that influenced these operas' creation and reception. The result is new insight into how the particular opposition between a conservative genre and the idea of the "Zero Hour" motivated the development of opera's social, aesthetic, and political value after World War II.
Music has gained the increasing attention of historians. Research has branched out to explore music-related topics, including creative labor, economic histories of music production, the social and political uses of music, and musical globalization. This handbook both covers the history of music in Europe and probes its role for the making of Europe during a "long" twentieth century. It offers concise guidance to key historical trends as well as the most important research on central topics within the field.
The eighteenth and nineteenth centuries was an era of continuity as well as change. Though properly portrayed as the era of 'Protestant Ascendancy' it embraces two phases - the eighteenth century when that ascendancy was at its peak; and the nineteenth century when the Protestant elite sustained a determined rear-guard defence in the face of the emergence of modern Catholic nationalism. Employing a chronology that is not bound by traditional datelines, this volume moves beyond the familiar political narrative to engage with the economy, society, population, emigration, religion, language, state formation, culture, art and architecture, and the Irish abroad. It provides new and original interpretations of a critical phase in the emergence of a modern Ireland that, while focused firmly on the island and its traditions, moves beyond the nationalist narrative of the twentieth century to provide a history of late early modern Ireland for the twenty-first century.
Seminar paper from the year 2019 in the subject History - Asia, grade: 1,0, University of Heidelberg, language: English, abstract: The first appearances of the Moranbong orchestra raised hopes of more liberal policies under the then-new North Korean leader Kim Jong-un. Looking at Moranbong to start with seems therefore promising for numerous reasons. First, the band is a reminder that there is more in North Korea than nuclear weapons and a "little rocket man". It recognises North Koreans as human beings with a particular taste in music, fashion, and entertainment living within the barriers set by the political system. Since no political system is totally unresponsive to popular interest, research might indicate get an idea of "North Koreaness" under Kim Jong-un. Second, there is remarkably little research on 21st century North Korean music in general and Moranbong in particular. Existing research has explored either a cultural or a technical approach by examining the cultural motives, styles or performance techniques. Building on these findings, this paper asks whether Moranbong could be another tool employed by Kim Jong-un to legitimate his regime. It is argued here that even a system like North Korea cannot exist repression alone but needs to build a certain degree of support by the population, i.e. legitimacy. It is argued here that Moranbong serves both functions by providing a veritable propaganda tool to the North Korean regime. This tool can be directed at both the domestic and foreign audiences by implementing associations and symbols recognized by the respective audiences. Pyongyang can adjust this tool to serve the expectations of the respective audiences. This means neither a cultural liberalization nor "putting old revolutionary wine into new aesthetic forms". but a new style of North Korean music in the 21st century. The argument is examined as a historical case study drawing on North Korean primary and secondary sources. The methods and challenges of the methodology are further explained in the next chapter as well as the theoretical framework of legitimation and propaganda. The third chapter offers a discussion of the contested concepts. The fourth chapter illustrates the theoretical argument in an empirical analysis. Particular attention is paid to the performance style, the content and the international context of the Moranbong performances. Chapter five sums up the analysis, discusses its limitations and outlines possibilities for further research.
This work illuminates, identifies, and characterizes the influences and expressions of Bob Dylan's Political World throughout his life and career. An approach nearly as unique as the singer himself, the authors attempt to remove Dylan from the typical Left/Right paradigm and place him into a broader and deeper context.
The study deals with challenging questions of long-term future of global economy and the mankind. Focusing not only on what happens in the economic sphere but also on cultural, social, political, demographic, technological, and ecological processes. It employs a holistic approach to answer fundamental questions about the course of the future.
Drawing from classical myth, the history of philosophy, literature, film, music, and painting, Workman connects the artistic claims of Chaucer and tests them against similar gestures in the history of philosophy and literature. What results is a radical retake on Chaucer as a philosopher and poet, upending any preconceived views.
The two volumes of Moisei Ostrogorski's work, published in 1902 and long out of print in this century, are the fi rst serious attempt to analyze the consequences of democratic sufferage by a comparative analysis of political systems and had a profound eff ect on the subsequent writings of Max Weber and Robert Michels. Ostrogorski approached his analysis by a detailed history of the rise and changes in the party system in England and the United States, the first two nations to introduce mass suff rage. Although subsequent research has suggested the need to modify some of his historical statements, the books remain amazingly authoritative, and recent empirical studies conducted in this country have borne out many of Ostrogorski's fi ndings. Most current books on political parties acknowledge Ostrogorski as a major source of knowledge and ideas. His writings continue to be relevant to ongoing concerns in Britain and the United States.
The contributors investigate processes of international conflict transformation and peaceful cooperation. They highlight how critical intermediary-level components have proved more conducive to promoting rapprochement between rival states than interstate diplomatic engagement through incremental identity-change.
Olof Palme (Sweden), Olusegun Obasanjo (Nigeria), and Indira Gandhi (India) achieved the pinnacle of political power, fell from or relinquished power, and then, after a period in the political wilderness, regained it. By placing greater emphasis than that customarily accorded by biographers on the "interment" that followed their "fall" and preceded their "resurrection," the book describes how what they did, the lessons they learned, and the mistakes made by their successors facilitated their reentry.
Developing the theory of cultural trauma in regard to the shattering potential effects of political assassinations, Eyerman examines political and social life in three different national contexts: Martin Luther King, Bobby Kennedy, and Harvey Milk in the U.S.; Theo Van Gogh in the Netherlands; and Olof Palme and Anna Lindh in Sweden
Of these Essays, which were written in 1829 and 1830, the fifth alone has been previously printed. The other four have hitherto remained in manuscript, because, during the temporary suspension of public interest in the species of discussion to which they belong, there was no inducement to their publication.
The Vietnam War is an outstanding collection of primarydocuments related to America’s conflict in Vietnam whichincludes a balance of original American and Vietnameseperspectives, providing a uniquely varied range of insights intoboth American and Vietnamese experiences. Includes substantial non-American content, including manyoriginal English translations of Vietnamese-authored texts whichshowcase the diversity and complexity of Vietnamese experiencesduring the war Contains original American documents germane to the continuingdebates about the causes, consequences and morality of the USintervention Incorporates personal histories of individual Americans andVietnamese Introductory headnotes place each document in context Features a range of non-textual documents, including iconicphotographs and political cartoons
Understanding the Classical Music Profession is an essential resource for educators, practitioners and researchers who seek to understand the careers of classically-trained musicians, and the extent to which professional practice is reflected within existing classical performance-based music education and training. Taking Australia as a case-study, Dawn Bennett outlines how Australia is now a service economy, and an important component of service provision is in the culture and recreation industries. Despite this, employment in culture and recreation is poorly understood and a lack of cultural intelligence contributes to a less than satisfactory environment that inhibits the creative potential of cultural practitioners. Musicians in the twenty-first century require a broad and evolving base of skills and knowledge to sustain their careers as cultural practitioners. Bennett maintains that a musician cannot be simply defined as a performer, but that a musician is someone who works within the profession of music in one or more specialist fields. The perception of a musician as a multi-skilled professional working within a portfolio career has significant implications for policy, funding, education and training, and for practitioners and students seeking to achieve sustainable careers. This indispensable book provides a comprehensive analysis of life as a musician, from education and training to professional practice as well as revealing the structure of the Australian cultural industries. Although Australia is the focus of the book, the basis of the research originates from many different places and most of the issues discussed relate directly to other countries throughout the world.
The Wiley Blackwell Companion to Political Geography aims to account for the intellectual and worldly developments that have taken place in and around political geography in the last 10 years. Bringing together established names in the field as well as new scholars, it highlights provocative theoretical and conceptual debates on political geography from a range of global perspectives. Discusses the latest developments and places increased emphasis on modes of thinking, contested key concepts, and on geopolitics, climate change and terrorism Explores the influence of the practice-based methods in geography and concepts including postcolonialism, feminist geographies, the notion of the Anthropocene, and new understandings of the role of non-human actors in networks of power Offers an accessible introduction to political geography for those in allied fields including political science, international relations, and sociology
Utopia should be understood as a method rather than a goal. This book rehabilitates utopia as a repressed dimension of the sociological and in the process produces the Imaginary Reconstitution of Society, a provisional, reflexive and dialogic method for exploring alternative possible futures.