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Raba in Zloraba Glasbe V Nacistični Nemčiji

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Raba in Zloraba Glasbe V Nacistični Nemčiji UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Nadja Drakslar Raba in zloraba glasbe v nacistični Nemčiji Diplomsko delo Ljubljana, 2009 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Nadja Drakslar Mentor: doc. dr. Damijan Guštin Raba in zloraba glasbe v nacistični Nemčiji Diplomsko delo Ljubljana, 2009 Zahvala docentu dr. Damijanu Guštinu za vso potrpežljivost in kolegijalnost, Tomažu za zametek ideje, docentu Dušanu Bavdku za pomoč pri izbiri glasbenih primerov, družini za podporo in potrpežljivost in Miri za vso tehnično pomoč. Raba in zloraba glasbe v nacistični Nemčiji Nacionalsocialistična stranka je v Nemčiji v tridesetih letih vzpostavila diktaturo in s tem demokratično Weimarsko Nemčijo preoblikovala v totalitarni Tretji rajh. S svojo antisemitsko ideologijo ni zaznamovala le nemškega družbeno-političnega in gospodarskega življenja, temveč je proces germanizacije vpeljala tudi v tako eminentno družbeno področje, kot je umetnost, pod njegovim pritiskom pa se je nemško glasbeno življenje drastično spremenilo. Glasba se je razdelila na degenerirano – nesprejemljivo in nedegenerirano – sprejemljivo. Na povsem enak način je nacistični režim razdelil tudi njene poustvarjalce. Svoj odnos in pogled na glasbo je vsilil vsem družbenim institucijam – šolskemu sistemu, družini, cerkvi itd. Da bi z njeno pomočjo pri nemškem narodu sprožil razvoj močne nacionalne zavesti, jo je brez pomislekov izrabljal tudi v propagandne namene. V koncentracijskih taboriščih jo je za izvajanje terorja nad svojimi žrtvami pretvoril v enega izmed najhujših in najučinkovitejših dehumanizacijskih orodij. Ključne besede: nacizem, antisemitizem, glasba, propaganda, dehumanizacija. Use and abuse of music in Nazi Germany In the thirties National Socialist German Workers’ Party established dictatorship and with this political action converted the democratic Weimar Republic into totalitarian Third Reich. With its anti-Semitic ideology and germanization process NSDAP heavily influenced political and economical specters of German society and also cultural and artistic life. Consequently German musical life changed drastically. Nazis classified music and its creators as degenerate and non-degenerate – acceptable. Because of existing tendencies toward establishing and injecting powerful nationalistic and patriotic consciousness in German people they used music as a means of propaganda without any prejudice. They also imposed their prospect and relations toward music to all social institutions – school system, church, family, etc. The worse abuse of music was its use in concentration camps, where Nazis used it to torture their victims as one of the most powerful and effective dehumanization instruments. Key words: Nazism, anti-Semitism, music, propaganda, dehumanization. Kazalo 1 UVOD ..................................................................................................................................... 9 2 METODOLOŠKO-HIPOTETIČNI OKVIR ......................................................................... 11 2.1 Predmet preučevanja ...................................................................................................... 11 2.2 Cilj preučevanja .............................................................................................................. 11 2.3 Metodologija .................................................................................................................. 11 2.4 Hipoteze ......................................................................................................................... 12 3 OPREDELITEV GLASBENEGA STANJA Z DRUŽBENO-EKONOMSKEGA VIDIKA V WEIMARSKI REPUBLIKI IN V PRVIH LETIH TRETJEGA RAJHA ............................ 13 3.1 Družbeno-politična opredelitev Weimarske republike .................................................. 13 3.2 Položaj umetnosti in umetnikov v weimarski družbi ..................................................... 14 3.3 Ekonomska nestabilnost dvajsetih let in njen vpliv na kulturno sfero ........................... 14 3.4 Vpliv ekonomske nestabilnosti na glasbenike in njihovo dejavnost v Weimarski republiki ............................................................................................................................... 16 3.5 Vzpon nacizma in nastanek Tretjega rajha .................................................................... 18 3.6 Izboljšanje ekonomskega stanja na glasbenem področju v Tretjem rajhu ..................... 20 4 SLOGOVNI PLURALIZEM PRVE POLOVICE 20. STOLETJA ...................................... 21 4.1 Romantika ...................................................................................................................... 21 4.2 Impresionizem ................................................................................................................ 22 4.3 Ekspresionizem .............................................................................................................. 22 4.4 Nacionalne šole 20. stoletja ............................................................................................ 23 4.5 Neoklasicizem ................................................................................................................ 23 4.6 Atonalnost ...................................................................................................................... 24 4.7 Posledice nemškega slogovnega pluralizma v dvajsetih in v začetku tridesetih let ....... 25 5 ORGANIZACIJSKO UREJANJE GLASBENEGA PODROČJA ....................................... 27 5.1 Zveza bojevnikov za nemško kulturo ............................................................................. 27 5.2 Državna glasbena zbornica ............................................................................................. 29 5.3 Judovska kulturna zveza ................................................................................................. 32 6 (NE)DEGENERIRANA GLASBA IN POUSTVARJALCI ................................................ 36 6.1 Opredelitev termina »degeneriran« ................................................................................ 36 6.2 Nedegenerirana glasba ................................................................................................... 37 6.3 Pomembnejši poustvarjalci nedegenerirane glasbe ........................................................ 38 5 6.3.1 Richard Strauss ........................................................................................................ 38 6.3.2 Hans Pfitzner ........................................................................................................... 39 6.3.3 Herbert von Karajan ................................................................................................ 39 6.3.4 Wilhelm Furtwängler .............................................................................................. 41 6.3.5 Drugi poustvarjalci nedegenerirane glasbe ............................................................. 43 6.4 Izraba nemške folklorne glasbe ...................................................................................... 45 6.5 Degenerirana glasba ....................................................................................................... 45 6.6 Pomembnejši poustvarjalci degenerirane glasbe ............................................................ 48 6.6.1 Arnold Schönberg ................................................................................................... 48 6.6.2 Anton Webern ......................................................................................................... 48 6.6.3 Ernst Krenek ............................................................................................................ 49 6.6.4 Paul Hindemith ........................................................................................................ 50 6.6.5 Bruno Walter ........................................................................................................... 50 6.6.6 Otto Klemperer ........................................................................................................ 51 6.6.7 Drugi pomembnejši poustvarjalci degenerirane glasbe, ki so emigrirali iz Nemčije ............................................................................................... 52 6.7 Nemška jazzovska scena v času nacizma ....................................................................... 53 6.8 Mladinsko svingovsko gibanje ....................................................................................... 54 7 GLASBA V GETIH IN TABORIŠČIH TER ODNOS DO NJENIH POUSTVARJALCEV ........................................................................................ 56 7.1 Glasba v getih ................................................................................................................. 57 7.2 Glasba v koncentracijskih taboriščih .............................................................................. 59 7.3 Glasbeno ustvarjanje v Terezinu .................................................................................... 63 7.4 Terezinska glasba in njeni ustvarjalci ............................................................................ 66 7.5 Pojav jazzovske glasbe v koncentracijskih taboriščih .................................................... 67 8 GLASBA V INSTITUCIJAH ............................................................................................... 70 8.1 Uporaba glasbene prakse doma .....................................................................................
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