Art, Play, Labour: the Music Profession in Germany (1850–1960)

Martin Rempe, Ph.D. (2010), Humboldt University, Berlin, is a senior researcher at the University of Konstanz. He specializes in the social history of music and the history of European-African relations. Among many other publications, he has co-edited Musicking in Twentieth Century Europe: A Handbook (De Gruyter, 2021).

• ContentsPreface to the English translationAcknowledgementsList of Figures and TablesAbbrevationsIntroductionPart 1: Lifeworlds in the Nineteenth Century1 Wilhelm Wieprecht or On the Life of the Musician in the Sattelzeit1 Municipal Pipe Bands2 Municipal Theatre3 Court Orchestras4 Military Bands5 Musicians’ Lives in the Sattelzeit2 The Discovery of the Social: Musicians’ Organizations between Art and Labour1 Liszt, Wagner and the Allgemeiner Deutscher Musikverein2 A Rendezvous with Hirsch and Schulze-Delitzsch3 The General German Musicians’ Union4 Putting the Class Struggle on Hold3 Musicians’ Plight: Education and Everyday Working Life around 19001 The Hell of Apprenticeship and Little Old Men Painting Pictures2 Hungry Dogs Make Good Hunters3 Versatile, Mobile, Flexible: Lifeworlds4 Sombart’s Insights4 In a Different World: Women in Musical Life1 Role Models2 Pianomania3 Four Life Paths4 Born to PlayPart 2: Projects of Professionalization, 1890–19305 A Circuitous Route into the Bourgeoisie: Self-Civilizing and Lobbying1 Education Is Power2 Knowledge Production as an Aid to Self-Help3 Musicians’ Movement and Trade Unions4 Musicians as Workers: Social Legislation5 Social Democratic Terrorism: The Munich Orchestra Scandal6 Reconciliation of Interests and Municipalization7 David and Goliath: Against Military Competition8 Nietzsche’s Freak Show6 War Profiteers: Musicians at the Front and at Home1 Privileges at the Front2 Limited and Unlimited Solidarity3 Good Prospects4 Essential to the War Effort: Orchestral Musicians5 Relative War Profits7 Squabbling Professions: Musicians, Composers and Music Teachers1 Perspectives on a Unified Chamber of Musicians2 Turf Wars3 A Search for Lost Unity: The Musikergemeinschaft4 Vanity Fair8 An Era of Experiments: New Media, Fashions and Musicians in the Cultural and Welfare State1 War and Peace: Continuities2 Musical Empire: The Cultural State3 Curse and Blessing: The Welfare State4 The Ephemeral Job Description of ‘Silent Film Musician’5 A Playground for Conductors and Composers: Radio6 Jazz, or the Emergence of Popular Music as an Independent Genre7 Emancipation in the Workplace8 Musicians for the ‘People’s Body’ (Volkskörper): Occupational Hygiene9 In the Middle of SocietyPart 3: Crisis, Collapse, Continuities, 1930–19609 Neglected Muse: Nazi Music Policy1 Cutback Fever: The World Economic Crisis2 The Reich Chamber of Music: Right-Wing Staff …3 … and Left-Wing Reforms4 Exclusions: Jews and Opponents of the Regime5 Civil Decline …6 … and Remilitarization7 United in Discord: The Music of the Volksgemeinschaft8 Beyond Instrumentalization10 Forced Migrations: Lifeworlds in Times of War and Violence1 Global Refugee Movements2 A Provincial Terminus: Exile in the United States3 Music as Avenue of Escape? Deportations4 Scattered by War5 Managing Lack in the Reich6 Twilight of the Musicians?11 The Day of the Orchestral Musician: Ascent and Exit in West Germany1 Flourishing Musicians in a Time of Rubble2 Orchestral Revolution amid the Jobs Crisis3 Money, Money, Money: Wage Agreements and Royalties4 Winners and Losers5 At the CrossroadsConclusion: Musicians’ Lives as Creative WorkAppendix: Statistics on the Music Profession in GermanyBibliographyIndex