The Routledge Handbook to Music under German Occupation, 1938-1945 : Propaganda, Myth and Reality
- Submitting institution
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The University of Manchester
: B - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : B - Music
- Output identifier
- 158618927
- Type
- B - Edited book
- DOI
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- Publisher
- Routledge
- ISBN
- 9781138713888
- Open access status
- -
- Month of publication
- December
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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B - Music
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This edited collection was initiated by the conference ‘Music under German Occupation’ at the University of Manchester in 2015, which was jointly convened by the co-editors, David Fanning and Erik Levi (emeritus professor, Royal Holloway, University of London). Its 26 chapters comprise 18 that were developed and greatly expanded from contributions to the symposium, plus 8 further specially commissioned chapters; the resulting volume covers every country with a significant musical tradition that was occupied by Nazi Germany, along with several that were either neutral or in the Nazi Axis (Italy, Switzerland, Sweden). This is the first time such an overview has been attempted. The editors were jointly responsible for both conceiving the overall shape and compass of the collection and encouraging the contrasting methodologies adopted by its authors, including problematisations of such categories as resistance, collaboration and claims to the moral high ground.
Fanning’s contributions comprise: (1) the joint conception and editing of the entire c. 250,000-word volume (50% contribution); (2) joint authorship of the 8,000-word editorial Introduction, ‘The Foundations of Nazi Musical Imperialism’ (50% contribution); and (3) a jointly authored 14,500-word chapter on Shostakovich’s ‘Leningrad’ Symphony, with Michelle Assay (75% contribution). The principal research objective of this chapter was to challenge the outdate polemics associated with the symphony’s reception, gathering little-known information on the Symphony’s afterlife in media such as ballet, film and rock music (these three areas being the main contribution of Michelle Assay), and offering via Fanning’s research an innovative analysis of musical imagery (in particular quotation, allusion and affinity) and process (in particular sonata deformation and its large-scale correction), with the aim of offering a provocative new account for the symphony’s tenacious hold on repertoire status.
- Author contribution statement
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- Non-English
- No
- English abstract
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