Académique Documents
Professionnel Documents
Culture Documents
Abstract: This paper aims to explain how music can be used as way to instil certain
values in society, encouraging some desirable behaviour and discouraging what is
considered unacceptable. It takes as an example the denazification of Western
German society in the American-occupied area, through music summer courses and
festivals, as well as the less planned but no less important impact of jazz and blues . In
order to put this theme in perspective, this paper will also approach how traditional
German composers were used to reinforce the sentiment of Arian supremacy by the
Nazi propaganda.
2
Table of Contexts
Introduction
.. 2
The Nazi
years
. 4
society................................................................................ 9
effort..17
stage..22
contribution.25
3
Conclusion
.27
Bibliography
30
4
Introduction
changes in society. More than that, through cultural indoctrination, certain groups can
convince the people that such changes are the only way to achieve a better society,
usually and most sadly uniting the people against an invented or hyperbolised
common enemy. In such indoctrination, diversity is surely not taken into account. It is
not enough to emphasize certain aspects of a given culture, it also has to come with
The aim of this work is to analyse how music can be used as medium for
social transformation and ideological disseminator, via institutional control. The first
part of this research deals with the high status that musicians enjoyed in Germany
until the end of WWI and how the crisis during interwar period degraded their
some of the musical class' demands in their policies. The Nazi regime also offers a
great example of artistic control for political purposes and how a central power can
The second part approaches the first moments of the post-war period and
the reconstruction effort. It also deals with the challenges faced by the Allied Army in
Nazis.
5
The final part analyses how post-war modernism, jazz and blues promoted
creative, intellectual and behavioural changes that would be inconceivable during the
Nazi years, as well as the challenges they met in the first moment. Even though the
first denazification initiatives took place between 1945 and 1955, some of them would
During the years before the First World War, the German government
50,000 to 60,000 would have one legitimate theatre, a symphony orchestra and an
opera house playing throughout the year. and every city with a population of
100,000 or more gad at least one opera house performing daily.1 All of it would be
society gave place to the deep financial hardship in the Weimar years. While still
debilitated by the outcome of the First World War, Germany also had to deal with the
Great Depression. Deep budget cuts were imposed by the government on the artistic
sector and the dwindling purchasing power of the population put the musicians in a
very vulnerable position. Between 1929 and 1933, German orchestras were severely
diminished some, even extinguished due to the austerity measures that followed
1Warkentin, Erwin. History of the Information Control Division OMGUS, 1944 to June 30, 1946.
Page 106. http://www.erwinslist.com/Files/History%20I.pdf
6
Kultur. It reflected directly onto the Central Partys image and its liberal policies, by
then enduring massive public rejection. The crisis led the musicians and artists in
general to unionize, in order to press the government for better conditions and
opportunities.
Together with the Weimar Republic, the idea that art could exist in a
separate instance of social life - disconnected from the political and ideological
realities of the time - had collapsed. According to Steinweis, even if the majority of
German artists remained beside (or above) the political tumult, () the minority that
did become politically active helped shape and define the larger struggle. 3
The artistic unions previously mentioned provided the bases for the
Chamber of Culture - something that had been long aspired by the artists in the Nazi
period. The creation of the Chamber of Culture meant the abolition of all the other
artists guilds. Joseph Goebbels saw those artists unions as a powerful medium to
2Alan E. Steinweis. Art, Ideology and Economics in Nazi Germany. University of North Carolina
Press, 1993. Page 14.
diffuse Nazi propaganda, due to the importance that the German society traditionally
gives to arts. By attending to some of the artistic community demands, the regime
of the Nazi regime, in comparison with other artists. The artists could be allocated in
While 79% of the musicians were in one of the first three categories, 80% of sculptors
On the rise of the Nazi regime, not only performers and composers were
co-opted by the Nazi propaganda, but also musicologists, critics, and educators were
6
to support and endorse the regime via manifestos, articles and books. Villains of
Wagners operas were used to caricaturize the Jews, Nietzsches philosophy was used
to endorse Aryan supremacy. Composers like Richard Strauss and artistic medallions
such as Karajan, lent their art and reputation to Nazi events. With the exaltation of
German art, came the censorship of modern art, seen as result of racial degeneration
and foreign influences. The policies put into practice by the prominent National
Socialist Hans Severus Ziegler - appointed to the position of Culture, Art and
Theater in Thuringia, still in 1931, to protect the moral forces against foreign
influence and glorification of Negroidism - were now in force in the whole Nazi
Germany.7
4Idem.
5Idem. Page 8.
6Michael Mayer. The Nazi Musicologists as Myth Makers of the Third Reich. Journal of
Contemporary History Vol. 10, No. 4. October, 1975.
7Alan E. Steinweis. Art, Ideology and Economics in Nazi Germany. University of North Carolina
Press, 1993. Page 24.
8
brought by the Nazi regime consider their situation during the Weimar Republic years
soon it became clear that the Chamber of Culture was not a gift given by the Nazi
government to sponsor free spirited artists. In fact, they were not free at all. Jewish
artists, homosexuals, socialists and any other artists that did not fit in the Reich
standards were ousted from German cultural life. Those artists whose work would
praise the regime were warmly welcomed, those who were against it, would be
mercilessly ruled out. Not only Jewish artists lost their positions, but anyone opposing
the Nazi government or producing works that did not fit to the regimes ideas were
Composers like Paul Hindemith, Ernst Toch and Arnold Schoenberg had to
flee from Nazi Germany and those who remained in Germany found themselves
isolated from international development and most were engaged in writing music that
was psychologically effective to the Nazi cause rather than producing something
creative and of free expression8. Eight months before Germany's capitulation, the
Reich went on state of total war and for the first time in its history, all the theatres
9
were closed.
During the first years of the Nazi period, jazz suffered severe censorship
from the Reichsmusikkammer (following orders of Joseph Goebbels himself), due to its
Afro-American roots. It was a fear among the more conservative Nazis that such music
8Warkentin, Erwin. History of the Information Control Division OMGUS, 1944 to June 30, 1946.
Page 108. http://www.erwinslist.com/Files/History%20I.pdf
could corrupt the "purity and discipline" of the Aryan youth. In his speeches, Joseph
Goebbels was adamant on his opinion about jazz: it was nothing but "jungle music." 10
The fact that jazz was the most popular music at time in the Western world
and a taste inherited from the Weimar years posed a problem for the censors of the
regime, who had to prohibit several new jazz compositions from being broadcasted.
Some of them were smartly disguised as German music and often succeeded in
The paranoia about the effects of jazz on the Aryan moral led to some
bizarre decrees, trying to make jazz meet the regime's moral standard, as recollects
the Czech dissident Josef Skvorecky in his book The Bass Saxophone. The changes
would include limits for the syncopations (it should not be more than 10% of the
composition) of the music, to make it more legato and to avoid the "hysterical
instincts alien to the German people", the double-bass should always be played with a
bow, preference for "composition in major keys and lyrics expressing joy in life, rather
than Jewish gloomy music, prohibition of the use of mutes "which turns the noble
prohibition of the use of plucked strings, "since it is damaging to the instrument and
12
detrimental to Aryan musicality."
Although jazz was considered improper for German ears, Goebbels realised
that, since it was impossible to completely ban it from Reich's musical scene, he could
use for the regime's purpose. The paragraph above demonstrated how Goebbels tried
10Mike Dash. Hitler's very own hot jazz band. Smithsonian.com. May 17, 2012. Source:
http://www.smithsonianmag.com/history/hitlers-very-own-hot-jazz-band-98745129/?no-ist
to reframe jazz for German consumption, but he went further, trying to use its
English speaker singer singing "parodies" of the latest jazz hits. The band was called
"Charlie and His Orchestra" and the parodies were full of Nazi propaganda and
mockery of Winston Churchill, the American Army and Jews. 13 The recordings were
mostly broadcasted to UK and US and the song Little Sir Echo, for example, went back
According to Mark Dash, the fact that German listeners were not interested
in National Socialist music for entertainment and the Allied bombs were corroding
people's morale, made the Ministry of Propaganda compromise on subjects that were
unnegotiable before 1939, after all they were fighting jazz in radios or on stage and
losing.15
Despite his personal war on jazz, Goebbels had to turn to jazz specialists to
create his Nazi big band. For band leader, he chose Lutz Templin, a renowned tenor
saxophonist who "led one of the best swing bands before the war." Templin was also
recommended for the position for his quick adoption to Nazi society, although not
being a Nazi himself. Mark Dash quotes the story where Templin , in order to make a
contract with Deutsche Grammophon, ousted the Jewish leader of his orchestra.
Templin's connections with Nazi officials and his reputation as jazz musician brought
14Idem.
English and some talent for singing was the crooner of the new enterprise. In charge of
broadcasting the show called Political Cabaret, were the Irish-American Willian Joyce
(or Lord Haw Haw) and the British Norman Baillie-Stewart, who later came to be the
was largely based on dance standards, being jazz actually the smaller part. Movie
themes from Hollywood musical numbers from Broadway were also common.
The Czech accordionist Kamil Behounek, who also played in the band,
By the end of the war, many of the band members had to join the army
and were replaced by musicians from Belgium, France and Italy. The musicians now
had to make one session in the morning, for the propaganda effort, and in another
studio in the afternoon, to play for German radios. Charlie and His Orchestra recorded
as much as 270 tracks, between 1941 and 1943. Those recordings were distributed in
prisoner camps (being mostly destroyed by its prisoners) and broadcasted at home
and abroad.
Charlie and His Orchestra stayed on air in the Allied countries (and more
discreetly, inside Germany) until a month before the end of the war, without any
16Ibid.
18Ibid.
12
evidence of having reached their goal to weaken the enemy through psychological
warfare.19
The Germany of the end of the war was hardly recognizable by anyone
who knew the glory of its past. The invasion of the Allied forces from the West and of
the Soviets from East, literally tore the country apart. Hitler's policy of resisting the
invasion of any cost with no negotiation and no surrender, led to the complete
historical buildings were completely destroyed. Cities like Berlin, Hamburg, Cologne,
Munich, among many others, were nothing but ruins when the Third Reich finally fell.
About 14 million cubic meters of rubble were piled after the war, in West Germany
alone.20
Dusseldorf, 93 percent of the houses were uninhabitable, for example - and civilians
from former territories occupied by the regime were wandering around with no place
to go. The Allied Forces would have to come to terms with what to do with 1.5 million
20Spiegel Online International. Out of the Ashes: A New Look at Germany's Post-war
Reconstruction. http://www.spiegel.de/international/germany/out-of-the-ashes-a-new-look-at-
germany-s-postwar-reconstruction-a-702856.html
13
the Allied Forces commands. As Field-Marshall Montgomery said: "We have won the
winning parties of the war (United States, Britain, Soviet Union and France) that the
German territory would be divided among them in four occupation zones. Originally;
the plan was that the country would be governed as "single entity by central German
occupier with relative independence for the first two years of occupation.
By 1949, the three Western zones (American, British and French) were
formally unified in the Federal Republic of Germany (West Germany) and the Soviet
zone became the German Democratic Republic (East Germany). While free market
policies were employed in the West Germany, the East Germany would be loyal to the
22
Soviet Union until 1989, with the fall of the Berlin Wall.
Turning the page: the first moments of the American occupation in Germany
22Idem.
14
Psychological Warfare Division, (SHAEF PWD) and it summarizes the strategies for
purpose cannot be explained by the literal interpretation of its name. It was rather a
division aimed to fight the Nazi ideologies that Goebbels embedded in German Kultur
since great German personalities in music, theatre, literature and philosophy were
used by the Nazi propaganda to affirm the Arian Supremacy. The Nazi called it
Kunstpolitik, a doctrine designed "to make art serve politics and to make politics serve
One of the main targets of the PWD was to control strictly theatre and
music affairs. In this case, strict control meant the control of:
23Office of Military Government, United States (OMGUS) Information Control Division. Music
Control Instruction N. 1.
24SHAEF, Operation Memorandum No. 8, 11 March 44. Apud Erwin Warkenting, op. cit.
25MGR Title 21, Information Control. Apud Erwin Wartenkin, op. cit.
15
With this policy, the PWD intended to cast out the last members of the
artistic business with Nazi inclinations. A Nazi-free artistic scene also meant that the
remaining Nazi sympathizers would not have a channel to broadcast their views,
making their reorganization more unlikely. Above all, it was important to recreate the
artistic life in the occupied areas to give to the German people the sense that the
In fact, Roy Harris asked in a letter to Elliott Carter, what would be the "ten
composers of symphonic and chamber music whom you think are most worthy
Americans were already concerned about how they would "repopulate" the German
musical scenario (since many of the leading German musicians were Jewish or against
cultural ambassador, in 1948.27 The reports about how German musicians received
Bernstein's visit depicts the still ongoing tension between the German and American
musicians. In the morning when Bernstein was scheduled to conduct the Bavarian
State Opera, in a concert sponsored by OMGUS, the musicians "started a food strike
28
and at first it was thought that there could be no concerts." Although, in the end of
the same report, the writer says that the animosities were soothed and that "all press
26Roy Harris, letter to Elliott Carter, May 4 1945. In Amy C. Beal. Opus cit. Page 474
27Amy C. Beal. The Army, the Airwaves and the Avant-Garde: American Music in Post-War
Germany. American Music, Vol. 21, No. 4 (Winter, 2003), pp. 474-513. University of Illinois
Press, 2003.
28Undated document reporting on musical events in Bavaria in 1948; held in the OMGUS
Records of Military Government, Hesse, Educational and Cultural Relations Division, Theater
and Music Branch, Correspondence and other records, 1946-49, box 727, Record Group
(hereafter RG) 260, National Archives and Records Administration. Apud Amy C. Beal, opus cit.
Page 476.
16
reports were exceptionally enthusiastic" 29, according to Amy C. Beal, good part of
Bernstein's success was due to packs of cigarettes offered by the Bavarian Military
The careful plan of musical reorientation toiled by the Americans did not
include the propagation of jazz. There was no official document dealing with the
concerns of what jazz composers would better represent the American culture, such as
the aforementioned letter between Roy Harris and Elliot Carter. Partially, it was
because the Americans wanted to show their classical musical production in order to
debunk the Nazi myth that they were cultureless people and also because they knew
that the American soldiers would bring jazz to Germany anyway. In fact, jazz was
the broadcasts of American Armed Forces Radio," while the Information Control
Division would take care of high level orchestral ensembles, trying to convince their
zones (especially in Berlin) forced the American army to fight another propaganda
29Idem.
30Idem.
31Elizabeth Janik. Recomposing German Music: Politics and Musical Tradition in Cold War
Berlin. Brill. 2005. Page 123.
17
battle, since the Soviets were quick to reinforce the image of the Americans as
"cultureless people", through their newspaper in their occupied zone called Tagliche
Rundschau (Daily Journal). In this newspaper, they would often publish articles about
how the Russians praised Goethe or Beethoven, implying that they had the culture
Public opinion polls carried by the American army between '45 and '50
showed the results of the campaign: Germans were reluctant to adopt the American
democratic values at the cost of their own culture. The American radio station in Berlin
was struggling with the dwindling amount of listeners, due to its jazz program. 33
Notwithstanding, there were still jobs for jazz musicians in cities now full of Americans.
Even some members of Charlie and His Orchestra, who were broadcasting from
Stuttgart in the end of the war, were commissioned by the American soldiers after the
invasion of the city and continued playing through Germany during the occupation
years, despite OMGUS' effort to cleanse the stages from Nazi artists. 34
Jazz divided opinions on both sides of Berlin's Wall. If in the West it was
East it was consider soulless and music of inexistent intellectual meaning, by the
government. Nonetheless, the GDR's official position about jazz is that there were
actually two kinds of jazz: the Ur Jazz (the early and original jazz from the Afro-
American lower classes) and "perfumed hit song", which would be a profit-aimed
32 The Cambridge History of the Cold War: Volume 1, Origins. Edited by Melvin P. Leffler and
Odd Ame Westad. Page 404.
33Idem.
35Toby Thacker. Periphery and centre: German musicians in the Cold War. History in focus.
Source: http://www.history.ac.uk/ihr/Focus/cold/articles/thacker.html
18
The situation of jazz in West Germany would still take long to improve. Jazz
would have to wait until the 60's (much after the end of the occupation) to be
accepted and even funded by West Germany's institutional cultural symbol, the
Goethe Institut, thanks to its mixture with German folkloric music, brewed by a new
In East Germany, the situation was far less favourable for jazz and it would
not be until the mid-fifties that some fierce advocates of jazz would achieve a few
timid victories. Perhaps, Reginald Rudorf was the most influential of them all. Rudorf
was an important member of the East Germany Socialist Unit Party (SED) and through
articles and conferences, defended what he called "authentic jazz", a genuine music
from the oppressed Afro-American and lower classes, totally suitable for the German
working class. He succeeded to the extent of the amount of repertoire he made fit into
the Party's policy and managed to made publicly acceptable, but he still faced strong
1953, Rudorf saw the opportunity to expand the field for jazz. Although, due to some
about jazz in West Germany, he was arrested in 1957 for "slandering the Freie
Deutsche Jugend (Free German Youth) and the SED for having used jazz as a cover for
political crimes."37
Many of the jazz musicians that populated the German scene after the war
were, in a way or another, performing jazz during the war, clandestinely. The
36Andrew Wright Hurley. The Return of Jazz: Joachim-Ernst Berendt and West Germany Cultural
Change. Berghahn Books. 1 Feb 2012. Page 98.
37Uta A. Poiger. Searching for Proper New Music: Jazz in Cold War Germany. University of
Michigan Press. Source: https://www.press.umich.edu/pdf/0472113844-ch5.pdf. Page 90.
19
adapted themselves to the new reality in a Germany full of Americans and soon after
zero hour, were already performing for the GIs. Ulrich Adelt, in his book Black, White
and Blue: Racial Politics of Blues music in the 1960s, brings two more exemplary
Horst Lippmann was the son of a wealthy Jewish family, owners of the
Hotel Continental, in Frankfurt. He founded an illegal jazz club, the Hot Jazz Frankfurt,
in his father's restaurant and got arrested by the Gestapo after the latter
Fritz Rau was an orphan of both parents since young age. In 1940,
he moved to Berlin with his half-brother and his wife. According to Adelt, his
brother Walter Rau "owned a textile factory and was consultant for the military
apparel () and was also good friend with Albert Speer, Adolf Hitler's chief
architect."39 The young Rau, Adelt adds, also joined the Hitler Youth and
After the end of the war, Rau got to know swing and modern jazz, through
radio sessions and a jazz club in Heidelberg, where he worked as a bookkeeper. Rau
often talked about his "rebirth" through jazz, which he saw as an "embodiment of
freedom, individuality, ad humanity, the polar opposite of what the National Socialism
38Ulrich Adelt. Black, White and Blue: Racial Politics of Blues Music in the 60's. ProQuest, 2007.
40Ibid.
41Rau quoted in Brigl and Schmidt-Joos, Buchhalter der Trume, 68. In Ultrich Adelt, ibid. Page
138-139.
20
to Adelt, there is one thing that unifies them: "both experienced jazz as a tool of
1957, Lippmann and Rau started promoting their own jazz concerts, opening space for
effort from Lippmann and Rau to denazify both East and West Germany through jazz.
In fact, considering the bibliography gathered so far, it was clear that jazz would
become a powerful political asset since the first moments after the end of the war. In
the 50's, jazz was already widely accepted by the "white middle-class" critics, for its
and freedom in West Germany, and feeding resistance musicians on the other side of
43
the Iron Curtain.
American Cold War propaganda), composers like Dizzy Gillespie would later point that
the situation was far different in an America where Joseph McCarthy and Jim Crow
were influential politicians and lawmakers, questioning the current mainstream view
Despite the very little institutional attention that jazz received in the early
years of post-war, both in USA and in the occupied zone (still struggling with the
stigma of 'low culture' among many white Americans and Germans), it had more allies
than the GIs and the Army Forces' radios. According to Uta Poiger, the American
43Ulrich Adelt. American Quarterly. Vol. 60, No 4. John Hopkins University Press. Dec. 2008.
45 Ulrich Adelt. American Quarterly. Vol. 60, No 4. John Hopkins University Press. Dec. 2008.
Page 952.
21
Europe, but it would not be until the early 50's that American movies and popular
By the end of the 50's, jazz had much wider public acceptance, but the
numbers of jazz clubs and live jazz performance still did not attend the increasing
demand from part of Western German society. For those who wanted to promote jazz
in West Germany, there was still one issue to tackle: rejection from the upper-middle
class. Horst Lippmann and Fritz Rau tried to address to both problems at once. Since
they started promoting jazz concerts together, in 1955, they organized projects like
Germany.47 Lippmann and Rau realized that despite the resistance of the higher social
strata to jazz, it could be soothed by placing the concerts in a concert hall with its
musicians "wearing tuxedos".48 According to Adelt, Granz helped Lippman and Rau to
bring Oscar Peterson, Ella Fitzgerald, Leslie Young, Dizzy Gillespie and Benny Goodman
Rau, in his memoir 50 Years Backstage (50 Jahre Backstage), writes about
his impressions on the Modern Jazz Quartet (one of the concerts he promoted), in
Frankfurt:
46Uta Poiger. Jazz, Rock and Rebels: Cold War Politics and American Culture in a Divided
Germany. University of California Press, 2000.
47Ulrich Adelt. Black White and Blue: Racial Politics of Blues Music in the 60's. ProQuest, 2009.
49Ibid.
22
"For us, the Modern Jazz Quartet was the best way of
demonstrating how to become liberated. Even judges who had
previously labelled Louis Armstrong as an evil Negro promoting
uninhibited sexuality could not resist this sophisticated quartet
that could easily live up to the quality of European classical
concerts. () It was our intention to alter the cultural
landscape of Germany by promoting jazz, and we
accomplished that."50
For Adelt, when Rau talks about liberation, he means liberation from Nazi
ideologies through jazz and the upper classes were finally open to it, since it was being
About the recipe was kept for the creation of the American Folk Blues
Festival, a further attempt of "liberation" of German culture, by Lippman and Rau. The
first edition of the festival took place in 1962 and consisted on a tournee through
symphony halls in Germany, Switzerland, Austria, France and England, along three
weeks.
Like jazz, blues also counted on the commercial interest of the American
entertainment industry (consider the collaborative work between Lippmann and Rau
and American businessmen), but blues was even a deeper contrast against the
50Fritz Rau. 50 Jahre Backstage. In: Ulrich Adelt, ibid. Page 139.
was already respected as a jazz specialist for his Jazz Book, from 1952, as well as his
radio and TV broadcasts of jazz.52 He visited several blues clubs during his four months
stay in Chicago and decided to bring them to Europe. Blues, as seen by Berendt, was
the very origin of jazz, and while the first was more direct in emotions and musical
structure, the latter was more sophisticated in both senses, although still expressing
the same ideas. Berendt would say about blues in a later publication, Blues: Ein Essay
(1957):
change on a behavioural level. Adelt points to irony of blues being seen as a rough and
"primitivized" precursor of jazz and still being accepted as a legitimate high art form.
Anyway, both seem to have stricken the remainder Nazi ideologies on its core:
challenging the concepts of intellectual and moral superiority still embedded in some
52Ibid.
53Joachim-Ernst Berendt. Blues: Ein Essay.In: Ulrich Adelt. Ibid. Page: 140.
24
School") and the Donaueschingen Festival were summer courses for composers
who intended to write "new music". The former was created one year after the
end of the war; the latter was a well-established festival since 1921 which resumed its
activity in 1950. The new generation of composers were to avoid any aesthetic
resemblance with anything possibly war related. Both events counted with the
presence of names like Boulez, Stockhausen, John Cage, Varese, among others; both
harboured musical experiments that would change the classical musical production of
the 20th century and both seem to have attracted little attention from the general
audience.
The idea for the Freiekurse came from Wolfgang Steinecke, a German
musicologist living in Darmstadt who suggested to the city mayor the creation of a
25
summer school to introduce the young composers to the music that were outlawed
during the Nazi years. 54 The course would happen in the Kranichtein Hunting Castle
and was partially funded by OMGUS, in 1946. 55 Darmstadt was a city severely
damaged the Allied bombing, where about 80 percent of the buildings were
56
completely destroyed just one year before the first edition of the Freiekurse.
instrument of American foreign policy. (The difference was that the source of
composers and styles once forbidden by the Nazi censorship - such as Stravinsky,
Bartok and Schoenberg - as well as experimenting with any kind of music that was not
related to the wartimes.58 In the effort to leave the war in the past, not only composers
with Nazi affiliations, such as Richard Strauss, but also Jean Sibelius, whose name was
Schoenberg, Webern and the atonalist principles) was thriving in the Freiekurse since
its first years, a report from an official in charge of overviewing the Freiekurse in May
54Christopher Fox. The Darmstadt school's Britain Invasion. Article published by The Guardian
on 11 February 2010. Source: http://www.theguardian.com/music/2010/feb/11/darmstadt-
music-school-ferneyhough-finnissy
55Alex Ross. The Rest is Noise: Listening to the 20th Century. Farrar, Strauss and Giroux. New
York, 2007.
58Idem.
1949, shows how uncomfortable the military government was with music produced
there. On this report, the Colonel Ralph Burns says about the concerts of the last days
of the course that "it was generally conceded that much of this music of worthless and
better been left unplayed"60. On the same document, he notes that "the over-
emphasis on twelve tone music was regretted" 61. If the musical knowledge of Colonel
Colonel Burns also noticed a certain rivalry between the French attendants
of the course (Pierre Boulez, Rene Leibowitz and Oliver Messiaen, leading several other
aspiring composers) and the rest of their colleagues. According to him, Leibowitz (an
occasionally, offensive attitude towards the other students. Leibowitz only considered
worthy "the most radical kind of music and openly disdainful to any other"62. He
finishes his report hoping that the "next years Holiday Course for New Music must
follow a different, more catholic pattern".63 The public reaction to the musical
Helm, who is stationed near Darmstadt excitedly commented on the Freiekurse, in his
61Idem.
62Idem.
63Idem.
In another very complimentary article, this time for Musical America, Helm
talks about other avant garde music initiatives around West Germany: "Germany
since 1945 has been very probably the most open minded and progressive country in
the musical world"66. He quotes in this article the Freiekurse, the Donauenschingen
Festival and the concerts of Musica Viva society in Munich "as a few brilliant examples
Despite the public's reaction to the new music, the avant-garde composers
were regularly broadcasted throughout West Germany all over the year, since the
The comparison made between the Congress for Cultural Freedom and the
rather dubious origins of the Congress of Cultural Freedom. The Congress was born
from meeting, in New York's Waldorf Astoria (March, 1949), of non-Communist left
wing intellectuals from varied fields, advocating for world peace and against the
hostilities between USA and USSR 68. According to the CIA's website, in this meeting
65Amy C. Beal. New Music, New Allies: American Experimental Music in West Germany from
Zero Hour to Reunification. University of California Press, 4 Jul 2006. Page 39.
68CIA's Library. Origins of the Congress for Cultural Freedom, 1949-1950. Source:
https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-publications/csi-
studies/studies/95unclass/Warner.html
28
Aaron Copland, Arthur Miller and Dimitris Shostakovich, to name a few, "joined with
Ironically, the CIA (they admit it on their own website) was also, not only
members of the meeting that later on became the Congress for Cultural Freedom.
However, they deny that the intellectuals in their payroll were anyhow manipulated,
that they "simply helped people to say what they would have said anyway." 70
"Democratic Left" in Europe.71 As strange as it may look at the first glance, it was
strategically a very clever move, since Socialist views were popular in Europe and
people with Democratic leaning would more easily oppose to the Stalinism. James
Petras adds that the CIA had a vital role in the Congress for Cultural Freedom 's
funding which was, in his own words: "a kind of cultural NATO that grouped together
I deliberately chose two different sources for this chapter: the CIA's
website and the Monthly Review, "an independent Socialist magazine" (as it says on
the website), to counterpoint radically different views on this issue. The paragraph the
full:
69Idem.
70Idem.
71James Petras. The CIA and the Cultural War Revised. Monthly Review. Source:
http://monthlyreview.org/1999/11/01/the-cia-and-the-cultural-cold-war-revisited/
72Idem.
29
According to Taruskin, one of the main goals of the Freiekurse was to "to
propagate American political and cultural values as part of the general Allied effort to
institutions."75 Perhaps, the massive presence of American composers in the first years
of the Freiekurse led to the comparison between it and the Congress. It is important to
remember that Aaron Copland had his compositions often performed in the Freiekurse,
73CIA's Library. The Cultural Cold War: The CIA and the World of Arts And Letters. Source:
https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-publications/csi-
studies/studies/vol46no1/article08.html
was also known for his left-leaning views, had to stand before Joseph McCarthy's
The music produced in the Freiekurse during the years studied in this
research (as example of what was happening in other festivals in Germany at the
musicologists, such as Theodor Adorno, who saw fascism in those composers who
were still writing tonal music. At the same time, Shostakovich's music was accused by
Stalin's censors of being "formalist", meaning that it was too close to Western
modernism.77
they were not only dealing differently with the same issue, but they also had radically
different views on the same thing: Western modernism. While Adorno attacked the
"fascist roots" of tonal music, composers under Stalinist USSR were encouraged to
Many of the main composers attending to the Freiekurse (Luigi Nono, Karl-
Heinz Stockhausen ad Edgard Varese, to name a few) were also involved with the
studios mainly, but also in other radio station studios through West Germany. Whether
(consider the importance of scientists in the result of the WWII, with the atomic bomb
76Bill Morelock. Conscience vs McCarthy: the political Aaron Copland. Minnesota Public Radio,
May 2005.
Source: http://news.minnesota.publicradio.org/features/2005/05/03_morelockb_unamerican/.
77The Economist. Music, War and Politics Intertwined. October, 2007. Source:
http://www.economist.com/node/10015908
31
and increasingly complex weaponry) 78 or by the simple curiosity of trying gadgets that
were almost exclusively available for military purposes until then, those composers not
only launched the bases for modern electronic music, but also developed new tools
and methods that would be proven essential in pop music recording studios.
recording only made available to musicians after the end of the war. Recently created
electronic instruments from America were brought to Europe during the occupation
years. Sound recording inventions like the Telegraphone met the much more
developed German system of magnetic tape recording which, having no longer any
military purposes, were made available in radio stations and studios. According to
Thomas Holmes, the Allied Forces were surprised to find numerous tape recording
telegraph and constantly developing radio technologies suggested that a new way of
making music was being created: a way that would be paved by the attempts of
engineers to materialize the imagination of new composers. 80 Like Edgard Varese said:
"Speed and synthesis are characteristics of our own epoch, the composer and
electrician will have to labour together to get it."81 In fact, he approached Leon
Theremin still in 1933, asking him to build a new instrument for his piece Ecuatorial,
78Timothy Dean Taylor. Strange Sounds: Music, Technology and & Culture. Psichology Press,
2001.
79 Thomas Holmes. Electronic and Experimental Music: Technology, Music and Culture.
Rutledge, May 2012.
80Idem.
military until the end of the war), opened the possibility of multi-track recordings, a
Conclusion
of time the depth of the social transformation of West German society as well as all
the players involved in this transformation. Although this research focused on the
period between '45 and '55, some of the most expressive results of the reorientation
attempt were only verifiable from the 60's on. I included few of them for being
consequences early policies but, unfortunately, many were left unspoken in this work,
like the jazz festivals sponsored by Goethe Institut in the mid 60's or the impact of the
blues in the 70's. For this reason, the title of this chapter cannot be taken literally.
but apparently not in the way it originally intended and it took long until it proved itself
33
fruitful. American classical composers and musicians faced harsh rejection from their
German colleagues, as the Bernstein's case exemplifies. The festivals of new music
changed deeply the music production not only of German and American composers,
but of composers from all over the world. Still, the music from Darmstadt and
from those cities, the sharp contrast between the current German musical production
and the music deemed as desirable by Soviet standards seemed to be enough reason
fact, from those festivals on, classical music production changed so much that it
became almost impossible to revisit any music that could faintly resemble the Nazi
canon, so from a strategically point of view, the endeavour was successful, with or
without audience.
Composers from the Freiekurse were also involved with electronic music,
by then still in the experimental phase, exploring the music technology currently
available and demanding for new instruments and recording techniques that would be
largely used in studios later on, to record from orchestral works to pop music, offering
an indirect and often neglected contribution to American folk music industry (and
later, world music), which was so important for the reorientation plan.
cultural life in a Nazi manner, in the aftermath their methods were remarkably similar.
Both sought to control every level of German artistic production, ousting enemies and
the audience against works corrupted by subversive material, showing the intriguing
There was also a gap between the image that American agencies
(including the CIA itself) were broadcasting to West Germany and the reality at home.
One in Germany, watching the American movies, listening to jazz and its nature
"antiracial" and "democratic", could hardly guess they came from a country where Jim
Crow's segregationist laws were still in force. The CIA clandestinely sponsored non-
Communist left intellectuals and artists, while the McCarthy Hearings were taking
Jazz was perhaps the most important contribution from Americans to the
re-education and so far, I could not find a source confirming that it was actually
planned. Goebbels seemed to fear jazz more than any other foreign music and still,
jazz' role in the re-education was left to chance. It is important to notice that even the
strong rejection and censorship that jazz faced during and immediately after the war,
it slowly grew and took its place as a symbol of freedom and desegregation, as it was
seen by the German people itself. The prohibition of public jazz performances and
bizarre initiatives like Charlie and His Orchestra did not wear out jazz' significance for
its lovers and resistance musicians, like Horst Lippmann, who was arrested by Gestapo
for publishing jazz newsletters. Despite its rejection by the Germans listeners in the
first moments, it secured jobs for musicians emerging from the rubbles of the war via
The cultural exchange between German musicians and American jazz and
promoters and American impresarios, who had strong commercial interest to reach
this new market avid for novelties. Jazz and blues, from musical art forms, became
tools for mass denazification, via festivals and several publications praising its musical
quality and positive impact on a recently totalitarian and moralist country. When the
new generation of German jazz musicians fused jazz with folkloric music in the 60's,
they exorcized the last ghost from the Nazi period: xenophobia.
35
The main conclusion I drew from this research is that entertainment can be
If racism led the Nazis to execrate Black music (or any non-Arian music for that
matter), it is easy to find post-war movies where sinister geniuses listened to classical
composers (often Germans) before carrying out their crimes. It means that ideological
propaganda is more easily overlooked when it is in our own side, despite our outrage
Some similarities can be drawn between the case studied here and todays
mainstream pop music, which constantly elevates consumerism to a utopic life goal,
curiously fitting into Neoliberal policies of unlimited consumption and free market. As
the case of jazz in the Nazi years exemplifies, censorship alone cannot ban a
determined art form. Jazz was ousted from main live music venues and radios, but it
does not mean that there was no jazz production or there was no demand for jazz
entertainment in the Reich. It means that no art form can reach a mainstream status
without being somehow legitimated by a central power and accepted by its elite.
Bibliography
Adelt, Ulrich . American Quarterly. Vol. 60, No 4. John Hopkins University Press.
Dec. 2008.
36
ADELT, Ulrich. Black, White and Blue: Racial Politics of Blues Music in the 60's.
ProQuest, 2007.
BEAL, Amy C. The Army, the Airwaves and the Avant-Garde: American Music in
Post-War Germany. American Music, Vol. 21, No. 4 (Winter, 2003), pp. 474-513.
University of Illinois Press, 2003.
BEAL, Amy C. New Music, New Allies: American Experimental Music in West
Germany from Zero Hour to Reunification. University of California Press, 4 Jul
2006.
CIA's Library. Origins of the Congress for Cultural Freedom, 1949-1950. Source:
https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-
publications/csi-studies/studies/95unclass/Warner.html
CIA's Library. The Cultural Cold War: The CIA and the World of Arts And Letters.
Source: https://www.cia.gov/library/center-for-the-study-of-intelligence/csi-
publications/csi-studies/studies/vol46no1/article08.html
DASH, Mike. Hitler's very own hot jazz band. Smithsonian.com. May 17, 2012.
Source: http://www.smithsonianmag.com/history/hitlers-very-own-hot-jazz-
band-98745129/?no-ist
MAYER, Michael. The Nazi Musicologists as Myth Makers of the Third Reich.
Journal of Contemporary History Vol. 10, No. 4. October, 1975.
POIGER, Uta. Jazz, Rock and Rebels: Cold War Politics and American Culture in
a Divided Germany. University of California Press, 2000.
POIGER, Uta A. Searching for Proper New Music: Jazz in Cold War Germany.
University of Michigan Press. Source:
https://www.press.umich.edu/pdf/0472113844-ch5.pdf.
ROSS, Alex. The Rest is Noise: Listening to the 20 th Century. Farrar, Strauss and
Giroux. New York, 2007.
Spiegel Online International. Out of the Ashes: A New Look at Germany's Post-
war Reconstruction. http://www.spiegel.de/international/germany/out-of-the-
ashes-a-new-look-at-germany-s-postwar-reconstruction-a-702856.html
TAYLOR, Timothy Dean. Strange Sounds: Music, Technology and & Culture.
Psichology Press, 2001.
THACKER, Toby . Periphery and centre: German musicians in the Cold War.
History in focus. Source:
http://www.history.ac.uk/ihr/Focus/cold/articles/thacker.html
The Cambridge History of the Cold War: Volume 1, Origins. Edited by Melvin P.
Leffler and Odd Ame Westad.
38
The Economist. Music, War and Politics Intertwined. October, 2007. Source:
http://www.economist.com/node/10015908