Rewriting Musical History: Music Literature and the Musical Press



Throughout the past 350 years, Germany has sustained a strong theoretical and critical tradition in musical literature, but it was only during the early part of the twentieth century that musicology became widely recognised as an important intellectual and academic discipline of broad humanist dimensions which was given an institutional framework within the long-established German university system. Between 1904 and 1932, professorships in musicology were established in eleven universities — Berlin (1904), Munich (1909), Bonn (1915), Halle (1918), Breslau (1920), Göttingen (1920), Leipzig (1921), Heidelberg (1921), Kiel (1928), Freiburg (1929) and Cologne (1932) — a figure that was considerably in advance of any other European nation.1 Accordingly, German musicology of this period attained a high level of output in terms of the number of critical editions and historical, biographical and bibliographical studies which were published.


Symphony Orchestra Weimar Republic Musical Style Folk Music Opera House 
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Notes and References

  1. 3.
    HJ. Moser, ‘Die Enstehung des Dur-gedankens — ein kulturgeschichtliches Problem’, Sammelbände der Internationalen Musikgesellschaft vol. 15 (1913–14), p.270.Google Scholar
  2. 9.
    Anton Mayer, Geschichte der Musik (Hamburg, 1933), p.399.Google Scholar
  3. 10.
    Emil Naumann, Illustrierte Musikgeschichte (Stuttgart, 1934), p.17.Google Scholar
  4. 12.
    Wolfgang Boetticher, Robert Schumann. Einführung in Persönlichkeit und Werk (Berlin, 1941), p.186.Google Scholar
  5. 15.
    Fred K. Prieberg, Musik im NS-Staat (Frankfurt, 1982) p.361.Google Scholar
  6. 16.
    Walter Petzet, ‘Zur musikalische Lage in Deutschland’, Signale für die Musikalische Welt, 26 April 1933, pp. 309–10.Google Scholar
  7. 18.
    Josef Müller-Blattau, ‘Das Horst-Wessel Lied. Wege des Volksliedes’, Die Musik, February 1934, pp. 322–8.Google Scholar
  8. 19.
    Henry Cowell, ‘Bericht aus Amerika’, Melos, 1930, p. 363.Google Scholar
  9. 20.
    Karl H. Wörner, ‘Was ist Kulturbolschewismus?’ Melos, 1932, p. 397.Google Scholar
  10. 21.
    Werner Korte, ‘Die Aufgabe der Musikwissenschaft’, Die Musik, 1935, p. 341.Google Scholar
  11. 26.
    Paul Ehlers, ‘Die Musik und Adolf Hitler’, ZfM, April 1939, p. 356.Google Scholar
  12. 27.
    See Ilse Deyk, ‘Der Jazz ist tot-es lebe die Jazzband!’ ZfM, Jan. 1942, pp. 12–14;Google Scholar
  13. Carl Hanneman, ‘Der Jazz als Kampfmittel des Judentums und des Amerikanismus’, Musik in Jugend und Volk, 1943, pp. 57–9;Google Scholar
  14. Gotthold Frotscher, ‘Amerikanismus in der Musik’, Musik in Jugend und Volk, 1943, p. 94.Google Scholar
  15. 28.
    Karl Blessinger, ‘Englands rassische Niedergang im Spiegel seiner Musik’, Die Musik, Nov. 1939, pp. 37–41.Google Scholar
  16. 30.
    R. Zimmermann, ‘Ein Wort für Cäsar Franck’, ZfM, Jan. 1938, pp. 41–2.Google Scholar

Copyright information

© Erik Levi 1994

Authors and Affiliations

  1. 1.Royal HollowayUniversity of LondonUK

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