Abstract
To the popular imagination of the Weimar Republic, jazz functioned as an acoustical sign of national, social, racial, and sexual difference. Viewed within the cultural vocabulary of the time as fundamentally antithetical to German cultural traditions, the music both acted as an icon of non-German forces and provided an acoustical screen for the projection of fears regarding rapid and violent political and social change in postwar Germany. The temporal extremes of the Republic, 1919-1933, roughly
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