The Nazi Musicologist as Myth Maker in the Third Reich

Abstract

In view of the continuing interest in Nazi affairs, in the relationship of ideology to totalitarian government and in the effects of this totalitarian state on various aspects of German life, it is extraordinary that, to date, no comprehensive analysis has been written on the impact of National Socialism on the outstanding manifestation of German cultural achievement in moder times, German music. This omission is curious, for the fate of German music tells us a great deal about the formulation of Nazi attitudes and policies toward society, and about Nazi mythology and ideology. When the Nazis came to power in 1933, musicologists were commissioned to rewrite the history of German music in accordance with Nazi principles. Noted composers, performers, educators, critics (replaced by the official Muskibetrachter November 1937) and musicologists contributed, through statements, manifestoes, articles and books, to the justification of totalitarian design and practice. This development played a crucial part in the legitimization of Nazi power in the cultural sphere. The interest of the Nazis in identifying with German culture complemented music's traditional inclination toward accommodation to existing social conditions and government direction. When the new state, eager for the support of prestigious institutions, demonstrated its respect for Germany's great music, musicians welcomed assurances that they would actively contribute to what was then called 'the regeneration of the German people and German culture'. Collaboration was facilitated, moreover, by the many conservative musicians who believed that the new state shared their disapproval of the condition and the direction of 'moder music'. When nationalism is added to conservative concern over music's alleged contemporary disorientation and alienation from the com-