Anaïs Fléchet is Associate professor in International History at the University Paris-Saclay, and member of the research team Centre d’histoire culturelle des sociétés contemporaines. Her research focuses on music, international history, Brazil and the Global South.

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• List of IllustrationsForewordJay WinterIntroduction: Rethinking post-war transitions from a musical perspectiveAnaïs Fléchet, Martin Guerpin, Philippe Gumplowicz, Barbara L. KellyPart I: Reconstructing the Music WorldChapter 1. Emerging from the turmoil: Georges Bizet in the early 1870sHervé LacombeChapter 2. A Post-Revolutionary Musical Order: Mexico, 1910-1930Pablo PalominoChapter 3. First Concerts on Familiar Ground? The Post-War International Comebacks of the Vienna and Berlin Philharmonics, 1947/48Friedemann PestelPart II: A gradual demobilisation: music, cultures of war and national imaginationsChapter 4. Discourse on music and the post-war transition: The case of France after the Franco-Prussian conflict of 1870-1871Emmanuel ReibelChapter 5. Singing about war and the enemy after a conflict: Two post-war transitions in France (1871, 1914-1918) at the café-concert and the music hallMartin GuerpinChapter 6. From Cœuroyto Céline: Popular music in the ‘war of good taste’ during the false post-conflict transition period, 1940-1942Philippe GumplowiczChapter 7. Wars, Ethnic Conflicts and the Political Use of Folk MusicMichael WedekindPart III: Memory, mourning and commemorationChapter 8. Béranger’s Napoleonic songs: mourning, memory and the futureSophie‑Anne LeterrierChapter 9. Paul Hindemith’s Minimax and the Trauma of WarLesley HughesChapter 10. A transatlantic repertoire of resistance and mourning in the post-war years: The songs from the ghettos and camps collected by Shmerke Kaczerginski (Vilnius, New York, Buenos Aires)Jean-Sébastien NoëlChapter 11. Singing the unspeakable in Rwanda in the summer of 1994: Music in the context of the genocidal abyss through a portrait of the artistBenjamin Chemouni and Assumpta Mugiraneza Part IV: Music for peace and reconciliation?Chapter 12. ‘Congress never works better than when it dances’: Music, Peacemaking, and Congress Diplomacy, 1814-1856Damien MahietChapter 13. Internationalism and Musical Exchange in post-World-War 1 EuropeBarbara L. KellyChapter 14. Music and peace‑building? The creation of the International Music Council (1946-1950)Anaïs FléchetPostface: The Quest for Harmony?Music and post‑war transitions from international perspectiveJessica Gienow-Hecht