Abstract
Abstract This essay examines, with reference to the defense function of collective traumas, two examples of pieces composed after the two world wars of the 20th century. The starting point is a genealogical concept of collective violence in which individuals and societies are seen as products of simultaneous individuation and socialisation processes. Abductive conclusions drawn from a first analysis of musical structures and contexts of origin suggest that a simple defense character or unilateral identification with the trauma-compensating pattern is unlikely. Systematic reception research on the effect and evaluation of the listener, which could throw further light on these issues, has yet to be undertaken.
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