Music after Hitler, 1945–1955 (Record no. 2031)

MARC details
000 -LEADER
fixed length control field 02804 a2200289 4500
001 - CONTROL NUMBER
control field 1138274631
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317100408.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042016GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781138274631
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 48.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code AVLA
Source thema
072 7# - SUBJECT CATEGORY CODE
Subject category code 3MP
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code AVGC6
Source bic
072 7# - SUBJECT CATEGORY CODE
Subject category code HIS000000
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code HIS027090
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code HIS037000
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code MUS000000
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code 780.9430904
Source bisac
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Toby Thacker
245 10 - TITLE STATEMENT
Title Music after Hitler, 1945–1955
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20161031
300 ## - PHYSICAL DESCRIPTION
Extent 296 p
520 ## - SUMMARY, ETC.
Expansion of summary note 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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