Dreams of Germany

Neil Gregor is Professor of Modern European History at the University of Southampton. His past books include Daimler-Benz in the Third Reich (winner of the 1998 Fraenkel Prize for History), Haunted City: Nuremberg and the Nazi Past (winner of the 2008 Fraenkel Prize for History), and How to Read Hitler (new edition, 2014).

“Gregor and Irvine have assembled a collection that ably reflects new directions in research on music and its ties to notions of Germanness that have emerged over the past twenty-odd years. Especially welcome is the collective attention to notions of musical practice and experience as well as the authors’ catholic approach to music’s very definition. Well-written, informative, and frequently suggestive of themes that warrant further attention, the essays are sure to attract a broad, multidisciplinary readership.” • Journal of Modern History“This collection achieves the aims as formulated in the introduction. Especially the articles on affective practices as well the inherent tensions between the regional and the national are very convincing.” • Francia“[This volume] is a terrific contribution to scholarship examining the relationship between music and German national identity in the twentieth century…[It] offers a strong blueprint for those wishing to conduct research on music’s complicated role in German history. The authors convincingly demonstrate the topic’s elasticity, flexibility and breadth while also covering new ground. The book will also be an accessible and thoroughly enjoyable read for historians wishing to acquaint themselves with the field and assign new material in their courses.” • German History“A wonderful anthology that connects the European classical tradition with popular music in fascinating ways. It is a pleasure to read.” • Ulrich Adelt, University of Wyoming

• List of Figures and TablesAcknowledgmentsIntroductionNeil Gregor and Thomas IrvinePART I: SPACES AND MOMENTS OF AFFECTChapter 1. “The German in the Concert Hall”: Concertgoing and National Belonging in the Early Twentieth CenturyHansjakob ZiemerChapter 2. “Music Made in Hamburg”: How One City’s Music Scene Helped Make Rock and Roll the Lingua Franca of YouthJulia SneeringerChapter 3. “With Every Inconceivable Finesse, Excess, and Good Music”: Sex, Affect, and Techno at Snax Club in BerlinLuis-Manuel GarciaPART II: THE LOCAL, THE REGIONAL, THE NATIONALChapter 4. Bruckner, Munich, and the Longue Durée of Musical Listening between the Imperial and Postwar ErasNeil GregorChapter 5. Female Musicians and “Jewish” Music in the Jewish Kulturbund in Bavaria, 1934–38 123Dana SmithChapter 6. Pride of Place: The 1963 Rebuilding of the Munich NationaltheaterEmily Richmond PollockPART III: GLOBALIZING MUSICAL GERMANNESSChapter 7. Was ist Japanisch? Wagnerism and Dreams of Nationhood in Modern JapanBrooke McCorkleChapter 8. Hubert Parry, Germany, and the “North”Thomas IrvinePART IV: FANTASIES, REMINISCENCES, DREAMS, NIGHTMARESChapter 9. Between Musicology and Mythology at the Stunde Null:Austria’s 950th “Birthday” and the 50th Anniversary of Bruckner’s DeathLap-Kwan KamChapter 10. Hearing the Nazi Past in the German Democratic Republic: Antifascist Fantasies, Acoustic Realities, and HauntedMemories in Georg Katzer’s Aide –Mémoire (1983)Martha SpriggeChapter 11. Sprockets + Autobahn: Kraftwerk Parodies, German Electronic Music, and Retro Dreams in AmerikaSean NyeIndex