German Language and Literature Commons^™

Jazz Banned: How Jazz Music Shaped Nazi Germany, Stella Coomes

Young Historians Conference

Jazz is widely known to be a formative element in American history, but it also played an important role during some of Europe’s most formative and memorable years: the time of World War II and Adolf Hitler’s reign in Germany and surrounding countries. With its roots in Black American culture, it is easy to believe that Hitler would not have supported the increasing popularity of jazz music in his homeland. However, that did not stop him from using it to his advantage (of course, denouncing any form of jazz that was not sponsored by the state). Also not to be …

The Strategies And Risks Of Performing Citizenship And Rights Through Music, Carolin Mueller

Biennial Conference: The Social Practice of Human Rights

My work explores the capacity of cultural producers to perform “insurgent citizenship,” a term theorized by James Holsten (2008) to describe how the peripheries of social organization can propel alternative modes of civic participation, through music. I utilize Engin Isin’s performative dimension of citizenship (2017) to investigate such forms of insurgent citizenship as they evolve in social and cultural peripheries of the contemporary arts and culture industry in the city of Dresden, Germany to identify the pathways they open to socio-political participation and autonomy for refugees.

While Germany understands itself as a nation of culture, cultural policy unevenly addresses the …

From Swing King To Swing Kids: The Jazz Era Of ‘Big Band Orchestras’ In World War Ii, Katie Victoria Burnopp

Student Scholar Showcase

Known as the ‘King of Swing’, clarinetist and band leader Benny Goodman (1909-1986) threatened the Nazi cause during WWII. With intent of improving music pedagogy, the purpose of this research was to investigate swing music during World War II. The particular problems of this study were to: (1) identify how the swing music of Benny Goodman (1909-1986) influenced adolescents in the United States of America, United Kingdom, and Germany; (2) explore the Nazi party view on ‘swing’ music of the era; (3) examine how the music of Charlie and his Orchestra became used as a tool for Nazi propaganda; and …

P13. Wagner's Use Of The Formal Lament For King Mark In Tristan Und Isolde, Julie Anne Nord

Western Research Forum

Background: The composer Richard Wagner often expressed his distaste for “number” operas and other contrived forms used in the Italianate works of his forerunners and contemporaries. In place of these operatic conventions, Wagner drew upon the Tragedy of Ancient Greece to propose a “total artwork” (Gesamtkunstwerk)) with no contrived breaks for conventional form. Despite, or perhaps because of, his aversion toward operatic formal conventions, Wagner turned to one such form for his music for King Mark in Tristan und Isolde.

Methods: This poster demonstrates Wagner’s use of lament tropes from the poetry of Greek Tragedy and from …

The Rhineland Bastards, Natalia Mujadzic, Louise Stoehr

Undergraduate Research Conference

"Rhineland Bastard" was a derogatory term commonly used when referring to Afro-German children. Initially the term denoted only those whose father had been an Allied soldier of African descent, more specifically children of soldiers in the French colonial troops who occupied the important industrial Rhineland. The term gained popularity during the years of the Weimar Republic 1919-1933 and eventually began being used exclusively to refer to all AfroGerman children regardless of their father's occupation or heritage. The Rhineland Bastards were victims of persecution, sterilization, and brutality.