Acknowledgments

Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. Acknowledgments vii
4. Introduction: Sound Matters 1
5. Part I: Sound Nation?
6. 1. Hegemony through Harmony: German Identity, Music, and Enlightenment around 1800 33
7. 2. Mahler contra Wagner: The Third Symphony and the Political Legacy of Romanticism 49
8. 3. Conducting Music, Conducting War: Nazi Germany as an Acoustic Experience 65
9. Part II: Dissonant Visions
10. 4. The Politics and Sounds of Everyday Life in Kuhle Wampe 79
11. 5. Sound Money: Aural Strategies in Rolf Thiele’s The Girl Rosemarie 91
12. 6. The Castrato’s Voices: Word and Flesh in Fassbinder’s In a Year of Thirteen Moons 104
13. Part III: Sounds of Silence
14. 7. Benjamin’s Silence 117
15. 8. Deafening Sound and Troubling Silence in Volker Schlöndorff’s Die Blechtrommel 130
16. 9. Silence Is Golden? The Short Fiction of Pieke Biermann 142
17. Part IV: Translating Sound
18. 10. Broadcasting Wagner: Transmission, Dissemination, Translation 155
19. 11. Sounds Familiar? Nina Simone’s Performances of Brecht/Weill Songs 171
20. 12. Roll Over Beethoven! Chuck Berry! Mick Jagger! 1960s Rock, the Myth of Progress, and the Burden of National Identity in West Germany 183
21. 13. The Music That Lola Ran To 197
22. Part V: Memory, Music, and the Postmodern
23. 14. “Heiner Müller vertonen”: Heiner Goebbels and the Music of Postmodern Memory 217
24. 15. The Technological Subject: Music, Media, and Memory in Stockhausen’s Hymnen 228
25. Notes on Contributors 242
26. Index 245