Abstract
Throughout the past 350 years, Germany has sustained a strong theoretical and critical tradition in musical literature, but it was only during the early part of the twentieth century that musicology became widely recognised as an important intellectual and academic discipline of broad humanist dimensions which was given an institutional framework within the long-established German university system. Between 1904 and 1932, professorships in musicology were established in eleven universities — Berlin (1904), Munich (1909), Bonn (1915), Halle (1918), Breslau (1920), Göttingen (1920), Leipzig (1921), Heidelberg (1921), Kiel (1928), Freiburg (1929) and Cologne (1932) — a figure that was considerably in advance of any other European nation.1 Accordingly, German musicology of this period attained a high level of output in terms of the number of critical editions and historical, biographical and bibliographical studies which were published.
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Notes and References
HJ. Moser, ‘Die Enstehung des Dur-gedankens — ein kulturgeschichtliches Problem’, Sammelbände der Internationalen Musikgesellschaft vol. 15 (1913–14), p.270.
Anton Mayer, Geschichte der Musik (Hamburg, 1933), p.399.
Emil Naumann, Illustrierte Musikgeschichte (Stuttgart, 1934), p.17.
Wolfgang Boetticher, Robert Schumann. Einführung in Persönlichkeit und Werk (Berlin, 1941), p.186.
Fred K. Prieberg, Musik im NS-Staat (Frankfurt, 1982) p.361.
Walter Petzet, ‘Zur musikalische Lage in Deutschland’, Signale für die Musikalische Welt, 26 April 1933, pp. 309–10.
Josef Müller-Blattau, ‘Das Horst-Wessel Lied. Wege des Volksliedes’, Die Musik, February 1934, pp. 322–8.
Henry Cowell, ‘Bericht aus Amerika’, Melos, 1930, p. 363.
Karl H. Wörner, ‘Was ist Kulturbolschewismus?’ Melos, 1932, p. 397.
Werner Korte, ‘Die Aufgabe der Musikwissenschaft’, Die Musik, 1935, p. 341.
Paul Ehlers, ‘Die Musik und Adolf Hitler’, ZfM, April 1939, p. 356.
See Ilse Deyk, ‘Der Jazz ist tot-es lebe die Jazzband!’ ZfM, Jan. 1942, pp. 12–14;
Carl Hanneman, ‘Der Jazz als Kampfmittel des Judentums und des Amerikanismus’, Musik in Jugend und Volk, 1943, pp. 57–9;
Gotthold Frotscher, ‘Amerikanismus in der Musik’, Musik in Jugend und Volk, 1943, p. 94.
Karl Blessinger, ‘Englands rassische Niedergang im Spiegel seiner Musik’, Die Musik, Nov. 1939, pp. 37–41.
R. Zimmermann, ‘Ein Wort für Cäsar Franck’, ZfM, Jan. 1938, pp. 41–2.
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© 1994 Erik Levi
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Levi, E. (1994). Rewriting Musical History: Music Literature and the Musical Press. In: Music in the Third Reich. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-24582-6_9
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DOI: https://doi.org/10.1007/978-1-349-24582-6_9
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