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Music, he said, should be German, it should be volksverbunden, or linked to the volk, the German nation, and it should express the soul of Germany, die deutsche Seele. Unfortunately how to interpret these Romantic goals was left up to each of the competing authorities, who wondered if one key was more "Nordic" than another, and what was the ...
From the Nazi seizure of power onward, these composers found it increasingly difficult, and often impossible, to get work or have their music performed. Many went into exile (e.g., Arnold Schoenberg, Kurt Weill, Paul Hindemith, Berthold Goldschmidt); or retreated into "internal exile" (e.g., Karl Amadeus Hartmann, Boris Blacher); or ended up in the concentration camps (e.g., Viktor Ullmann, or ...
The "Swing Kids" (German: Swingjugend) were a group of jazz and swing lovers in Germany in the 1930s, mainly in Hamburg and Berlin. They were mainly composed of 14- to 18-year-old boys and girls. They defied the Nazis by listening and dancing to this same banned music in private quarters, clubs, rented halls and vacant cafés. [15]
The music for this song came from the Lied der Legion Condor ("Song of the Condor Legion"), whose lyrics and music were written by Wolfram Philipps and Christian Jährig, two Condor Legion pilots with the rank of Oberleutnant. The somber music has a minor character, and the song was "exposed to the accusation of being un-German, Russian or ...
They called it "Negro Music" (German: Negermusik), "degenerate music"—coined in parallel to "degenerate art" (German: entartete Kunst). [1] Moreover, song texts defied Nazi ideology, going as far as to promote sexual permissiveness or free love. [1] Despite this, not all jazz was forbidden in Germany at the time. [12]
1935 Reichsmusikkammer decree to the Berlin musician Werner Liebenthal dictating the immediate cessation of his professional activity. The Institute's primary goals were to extol and promote "good German music” — specifically that of Beethoven, Wagner, Bach, Mozart, Haydn, Brahms, Bruckner and the like — and legitimize the claimed world supremacy of Germany culturally.
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In 1938 Nazi Germany passed an official law on Jazz music. Not surprisingly it deals with the racial nature of the music and makes laws based on racial theories. Jazz was "Negroid"; It posed a threat to European higher culture, and was therefore forbidden except in the case of scientific study.