Book Review
Feb. 16th, 2013 01:36 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kenjariSettling Scores: German Music, Denazification, & the Americans, 1945-1953
by David Monod
This book discusses the US's attempts at reforming and reorienting German musical culture after World War II. The occupation government had a music branch whose role changed and evolved frequently between 1945 and 1953, at various times encompassing the de-nazification of German musicians (which included the clearing or blacklisting of people for work based on their activities and allegiances during the Third Reich), shifting of musical life away from being heavily state-influenced, and promoting American and other non-German classical music. There was an overall movement from a more controlling, governmental role to a more diplomatic advisory role over the years, too.
Unfortunately, it's the story of a lot of conflicting agendas, general bungling, and disappointing compromises. The heads of the occupation never seemed to settle on or even fully commit to any set of concrete objectives, and they also never managed to properly fund or support the activities of the music branch. As a result, the efforts of the music branch remained haphazard and of dubious efficacy.
Despite the less than cheerful subject matter, I found this book endlessly fascinating. First of all, despite learning about WWII itself in school, the aftermath of the war and the occupation were never really covered or discusses. So not only did I learn a great deal about those consequences in general, I learned a lot about how post war policies and actions can involve music for good or ill. Second, this story is a profound demonstration of the dangers, uses, and abuses of music for political or propagandist aims. It's a sobering illustration of how the intersection of art and politics can play out in the real world.
by David Monod
This book discusses the US's attempts at reforming and reorienting German musical culture after World War II. The occupation government had a music branch whose role changed and evolved frequently between 1945 and 1953, at various times encompassing the de-nazification of German musicians (which included the clearing or blacklisting of people for work based on their activities and allegiances during the Third Reich), shifting of musical life away from being heavily state-influenced, and promoting American and other non-German classical music. There was an overall movement from a more controlling, governmental role to a more diplomatic advisory role over the years, too.
Unfortunately, it's the story of a lot of conflicting agendas, general bungling, and disappointing compromises. The heads of the occupation never seemed to settle on or even fully commit to any set of concrete objectives, and they also never managed to properly fund or support the activities of the music branch. As a result, the efforts of the music branch remained haphazard and of dubious efficacy.
Despite the less than cheerful subject matter, I found this book endlessly fascinating. First of all, despite learning about WWII itself in school, the aftermath of the war and the occupation were never really covered or discusses. So not only did I learn a great deal about those consequences in general, I learned a lot about how post war policies and actions can involve music for good or ill. Second, this story is a profound demonstration of the dangers, uses, and abuses of music for political or propagandist aims. It's a sobering illustration of how the intersection of art and politics can play out in the real world.
