A Global Local Newspaper in Cooperation With
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tabelle1 Seite 1 654 5,00 € Laute Sonnenschein Odeon (Blau) O-31567 2
Tabelle1 654 5,00 € Halloh! Wie wär's mit einer 1-2-3 1 Orgel -2 Flügel - 3 Laute Sonnenschein 1-2-3 1 Orgel -2 Flügel - 3 Odeon (blau) O-31567 2- Fahrt in's Glück? a.d. Musikanten, Gesang Musikanten, Gesang Tonfilm Frau ohne Vergangenheit“ (Hans Carste, Bruno Balz) 444 3,00 € Kehraus beim Schwof 1. A. Flessburg, F.Weber- Kehraus beim Schwof 2. A. Flessburg, F.Weber- Telefunken A1134 3, scrs, rubs Flessburg, C. Woitschach Flessburg, C. Woitschach 258 6,00 € Troubadour Querschnitt 1. A.Rautawaara,M.Klose,P.A Troubadour Querschnitt 2. A.Rautawaara,M.Klose,P.A Telefunken E1715 3, scrs, rubs nders,Fuchs nders,Fuchs 587 3,00 € Ein Walzer für Dich a.d. Adalbert Lutter m.s. TO Das alte Spinnrad (B. Hill) Adalbert Lutter m.s. TO Telefunken M6005 3+ gleichnamigen Tonfilm (Will Musikus Meisel, Hans Hannes) 568 4,00 € Paris, du bist die schönste Adalbert Lutter, Heyn- Weine nicht, bricht eine Adalbert Lutter Großes Telefunken (rot) A2348 3, Riß fixiert Stadt der Welt (aus dem Quartett schöne Frau dir das Herz Tanzorchester Tonfilm „Patrioten“) Th. (aus dem Tonfilm „Zauber Mackeben, H.F. Beckmann der Bohéme“ R. Stolz, E. Marischka 1 4,00 € Melodia (Hörst du mein Adalbert Lutter, Neapolitanisches Adalbert Lutter Telefunken M6349 2-, scrs heimliches Rufen) W+ Refraingesang Ständchen 2 4,00 € Unser Paul Lincke 3. Adalbert Lutter, Unser Paul Lincke 4. Adalbert Telefunken M6303 3+, scrs Tenorsolo,Quartettgesang Lutter,Tenorsolo,Quartettge sang 554 5,00 € Unter dem Sternenbanner Adolf Becker mit großem Gladiatoren-Marsch Adolf Becker mit großem Odeon O-11152 3, scrs, Mbr a. -
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
Performing for the Nazis: Foreign Musicians in Germany, 1933-1939
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-04-24 Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 Bailey, Robert Warren Bailey, R. W. (2015). Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27304 http://hdl.handle.net/11023/2167 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 by Robert Warren Bailey A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, MUSIC CALGARY, ALBERTA APRIL, 2015 © Robert Warren Bailey 2015 Abstract This thesis focuses on foreign musicians in Nazi Germany from 1933 to 1939. What place did foreign musical performers have in Germany’s increasingly xenophobic employment market during the 1930s? Likewise, how did the Nazis deal with those musicians, and what margin of manoeuvre were foreigners given to carry out their craft? These are the questions that form the basis of this thesis. To answer them, I examine a collection of primary Reichsmusikkammer (Reich Music Chamber) records that are now held on microfilm in the United States National Archives, grouped under the description “Auftrittsgenehmigungen für Ausländer” (Performance Permits for Foreigners; specifically musicians). -
Music and Artistic Citizenship: in Search of a Swiss Identity
253 Music and Artistic Citizenship: In Search of a Swiss Identity CARLO PICCARDI (Lugano) Although, for obvious reasons, one cannot speak of a “Swiss music” in terms of a unified, homogeneous culture or style, this does not mean there are no observable constants within the variety of its manifestations and its development over time. More than individual elaborations, historical con- ditions have had the greatest influence in determining the aesthetic prin- ciples which have imposed themselves; general behaviour and interests have outweighed particular interests, and the way the country has de- fined itself as a distinct community in relation to its neighbouring nations. This essay draws upon well-known studies to examine music, art and cul- ture from historical, social, civil and political perspectives in an attempt to critically re-examine the question. It will be shown how a certain Swiss musical identity is constituted with regard to its functional role in the country’s interests, as an expression of a collective dimension, as a regu- lating organisation of its integration within society, and as a permanent and recognised dialogue with the institutions. The fact that certain char- acteristics recur both in situations of conservative withdrawal and in those of opening to new influences, leads us to speak of a shared value in the diversity of attitudes. About the fact that Switzerland has been the location of choice for travellers and refugees from all over the continent, someone has said that this country has more often welcomed the people who have found com- fort and refuge here than it has welcomed the messages they have brought with them. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Jazz Im -Dritten Reich"·
Guido Faclder ZWISCHEN (MUSIKALISCHEM) WIDERSTAND UND PROPAGANDA - JAZZ IM -DRITTEN REICH"· Durch vielerlei "unerträglich sachunkundig[e]" (Wolfgang Muth in: Kellersmann 1990, Vorwort) Berichte in den Medien wurde und wird die Thematik Jazz im "Dritten Reich" oftmals nur auf nostalgische oder aber spektalmläre Episoden reduziert, dies umso leichter, als bisher nur wenige wissenschaftliche Arbeiten dazu vorliegen.2 Widersprüchliche Reaktionen nationalsozialistischer Behörden auf das "Swingfieber" sowie das Kompetenzgerangel unter den Kommandostellen erschweren einen Überblick, der in diesem Beitrag versucht werden soll. Swingbegeisterung und Jazzverbote Jazz spielte nach der Weltwirtschaftskrise bis zur ersten großen Swingwelle Mitte der 30er Jahre musikalisch nur eine untergeordnete Rolle. Wenn dennoch vielerlei Jazz-Verbote ausgesprochen wurden, dann deswegen, "weil es von Tatkraft und nationaler Gesinnung zeugte, gegen sogenannte 'fremdrassige Musik' vorzugehen" (Schröder 1988, 178). Als Reaktion auf den politischen Umschwung verließen etliche "nichtarische" Kapellmeister, beispielsweise Marek Weber, Dajos Bela und Paul Godwin, aber auch komplette Bands wie die Weintraub Syncopators, die von einer Auslandstournee nicht wieder zurückkehrten, schon 1933 das nationalsozialistische Deutschland. Besonders die Abwanderung amerikanischer Musiker wirkte sich auf das Niveau deutscher Jazzmusik negativ aus. Der Thüringer Erlaß des Volksbildungs- und Innenministers Wilhelm Frick vom I Überarbeitete und ungekürzte FlI8SIIJlg des Vortrags vom 25.9.1992 in Weimar. Für die vielfiltigen Anregungen und die wertvolle Kritik danke ich CIaudia Westermann recht herzlich. 2 Selbst in neuesten I~ublikationen werden die Tatsachen verdreht, beispielsweise: 'Nach 1933 gab es keine Beschäftigung deutscher Musiker mit dem Iazz mehr. [ ... ] Erst das Ende des Zweiten Weltkrieges erschloß uns diesen Musikstil von neueJn' (Holzt-Edelhagen 1989, 105). 437 September 1930 gilt als erste Maßnahme der Nationalsozialisten gegen den Jazz. -
Front Matter
JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART (Under the Direction of Dr. Stephen Valdez) ABSTRACT Retaining and rebuilding Jewish identity in German-occupied Poland in the World War II and post-war era was a daunting task. Combining American jazz with European Ashkenazic tradition, Jewish musicians symbolically rebelled during the war, and many wrote displacement camp songs and instrumental pieces immediately following the war. The contextualization and place of these pieces and their jazz influence in the new phase of Ashkenazic culture are explored. Two pieces in particular, The Happy Boys' “We Long For A Home” and related musician Leo Spellman's “Rhapsody 1939-1945,” are used as case studies of displacement camp music because they capture the attitude that characterized Jewish life after the Holocaust. Through the incorporation of jazz, Jewish culture, and versatile expression of music, the Jewish identity could be healed and renewed. INDEX WORDS: Music, Jewish, World War II, Jazz, Ashkenazi, Displacement, Holocaust JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART B.A., Hendrix College, 2010 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTERS OF ARTS ATHENS, GEORGIA 2013 © 2013 Kara Leann Stewart All Rights Reserved JAZZ AND JUDAISM: AN EXPLORATION OF THEIR SYNTHESIS IN DISPLACEMENT CAMP MUSIC by KARA LEANN STEWART Major Professor: Stephen Valdez Committee: David Haas Rebecca Simpson-Litke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2013 iv TABLE OF CONTENTS Page CHAPTER 1 INTRODUCTION ................................................................................................ -
BEAT, 60S/70S DEE-JAY DOO WOP SERIES SEIRESPOWOODYAJ
DEE-JAY DOO WOP SERIES 183 TEEN SCENE CD BB 55113 € 15.34 WINCHELL : Don’t Make Small Talk Baby RICKY SHAW : The Riddle TOMMY BIENER & WENDY &...: The Top 40 DOVERS: Alice My SEVEN TEENS: Steady Guy AUGIE RIOS : Augie Stay Home CURT Love PAUL GRIF FIN : Ragdoll Baby LEE PARKER : Sand Dance JENSEN : Bobbie CHARLES DELL : I’m Here To Tell You (What MELLODEERS: The Letter DOVERS: A Lonely Heart RALPH DE Ronnie Couldn ’t..) RONI POWERS : Any Friend Of Henry’s RICKY MARCO : Donna MELODEERS: Born To Be Mine GINO: I’m A Boy SHAW : I Got A Girl GINO & THE DELLS: Baby Don’t Go Now In Love ANDY & GINO: Love Is Love (All Around The World) DONNY LEE MOORE : You Left Me Standing There AUGIE RIOS : DANNY WINCHELL : Sugar Baby RICKY & ROBBY: Suzzanne No One CHARLES DELL : Let’s Tell Him Now BIG BOB AUGIE ROSE : Lullaby ANDY ROSE & THE THORNS: Just For Fun DOUGHERTY : Bang Bang RICKY & ROBBY: Purple Pedal Pushers MONTELLS: My Prince Will Come (And He Will Be The One) DICK HEARTHERTON : Hey! Travelin’ Man ANGELA MARTIN : Two Pairs Of Shoes JAN TOBER : Just Married ANDY ROSE : Hey Scooter AUGIE RIOS & NOTA TIONS: There’s A Girl Down The Way CHESS MEN: Prayer Of Love DANNY BEAT, 60s/70s 13TH FLOOR ELEVATORS Willow Weep For Me- Yours Until Tomor row- Simon Smith And The Amaz ing Dancing Bear- Tickle Me 8 PARA DISE LOST 2-CD CD LSR 19630 € 24.90 CD-1:- Gloria- You’re Gonna Miss Me- Tried To Hide- Splash One- ALLMAN BROS You Can’t Hurt Me Anymore- Make That Girl Your Own- Before You UNIVER SAL MASTER Accuse Me- Fire In My Bones- Monkey Island- Thru The Rhythm- -
533-Larry Adler, Harmonica with John Kirby Orchestra: Star Dust/: Creole Love Call
533-Larry Adler, harmonica with John Kirby orchestra: Star dust/: Creole love call. Decca BM 4294.US. (V+) . P.50:- 9832-Larry Adler (The virtuoso of the mouth organ): Japanese sandman / Somebody stole my gal/: Some of these days / Dardanella. Decca F 6421.UK. (E-) . P.75:- 9802-Larry Adler, the virtouse of the Mouth-Organ: Cheek to cheek/: Isn´t this a lovely day, Top Hat. Rex 8650.UK. (V) . P.50:- 1702-Juan Akoni, ukulele w piano acc.: Hawaiian Butterfly/: What do you want to make those eyes at me for. Zonophone Rec. 1847.UK. (E-) . P.100:- 301-Peter Alexander och Sunshinekvartetten, Adalbert Luczkowskis orkester: Tschip-Tschiu-Tschi, F/: Cara mia, V. Polydor 49491.S, DE. (E) . P.50:- 920-Peter Alexander, Die Mickeys und das metropol-Tanzorchester: Hannelore, Marschfox/: Bella, bella Donna, F. Odeon SD 5732.Austria.1953 (N-) . P.50:- 1910-All Star Stompers: Hotter than that/: Big butter and egg man. Gazell 1016.US, SE.1947 (E+) from Circle J 1025 resp J 1024. P.100:- 1701-Henry Allen and orchestra, voc: Allen: Rosetta/: Dinah Lou, F. Parlophone R 2886.US. (E+) . P.125:- 1200-Gitta Alpar mit Orchesterbegleitung, Leitung: Dr. Weissmann: DasVellchen vom Montmartre: Warum weiss dein Herz nichts von mir/: Ich sing mein Lied im Regen und Schnee. Odeon O 11412.DE. (V) . P.30:- 1805-Fransisco Alves com Orchestra, Dir: Lirio Panicali: Chuvas de veräo, samba/: Maria Bonita, cancäo Mexicana. Odeon 12923.Brasil. (E+) . P.75:- 2011-Fransisco Alves com Eduardo Patané e sua Orquestra: Velhas cartas de amor, samba/: A noite triste em que vocé näo vem, valsa cancao. -
JAZZ-Katalog
Inhaltsverzeichnis A Allotria Jazz Band Seite 3 B Black Bottom Stompers Seite 4 Bluespack Seite 5 Beryl Bryden Seite 6 Bourbon Street Jazz Band Seite 7 Buddha's Gamblers Seite 8 C Casa Loma Jazz Band Seite 9 Jérôme de Carli Seite 10 Eliane Cueni Septett Seite 10 D Dai Kimoto & Swing Kids Seite 11 Daniel Küffer Seite 12 E Erich Gandet Quintet - Marianne Benz Seite 13 F Fabulous Fable Trio Seite 14 Four For The Blues Seite 14 Sabine Fiegl Seite 15 G Greasy Seite 16 H Häns'che Weiss Ensemble Seite 17 Harlem Ramblers Dixieland-Jazzband / featuring Travis Haddix Seite 18 Herb Miller Jazz Band Seite 20 J Jumping Notes Seite 21 In Mission Of Tradition Seite 22 M Melch Däniker Trio Seite 23 P Piano Connection & Marcs Boogie Seite 23 Piccadilly Six Seite 24 S Sander,Rainer Seite 25 René Scholl Jazztet Seite 25 Sophisticated Lady Seite 26 Steamboat Rats Seite 27 Martin Abbuehl's Swing Express Seite 28 Swiss Old Time Session Seite 28 Second Line Big Band Seite 30 T Travis "Moonchild" Haddix Seite 31 U Urban Spaces Quartet Voice it Seite 32 V Veterinary Street Jazz Band Seite 33 Rare And Historical Jazz Recordings Teddy Stauffer Seite 34 Ernst Höllerhagen Seite 35 Swing in Europe Seite 35 Hazy Osterwald Seite 36 Kurt Edelhagen Seite 37 Jazz in Switzerland 1930 - 1975 Seite 38 Raritäten - Sampler - Blues - Dixie - Diverse New Orleans Mississippi Dixieland Festival Seite 39 Dixie Panorama Seite 39 Odeon Tanz Orchester Seite 39 Movin' on Seite 40 New Jazz Trio Seite 41 Cord'n blöö Seite 41 No Square Trio Seite 41 Kosh Seite 42 Joey's Deep Blue Seite 42 Backyard Blues Connection Seite 42 Blue Flagships Seite 43 Walter Baumgartner Seite 43 Thomas Möckel's Centrio Seite 43 2 Ein Teil des Erlöses geht an die Stiftung Kinderhilfe Sternschnuppe Titelphoto: Schweizer Armeespiel Allotria Jazz Band 1. -
Die Komplette Tanzmusikliste Als Pdf-File
Ref.Nr. Musikername Zustand Musiktitel Land Best.Nr. Optisch / Akustisch Preis Erläuterungen TANZMUSIK 573 1-2-3 (1 Orgel 2 Flügel 3 Musikanten - Adolf Steimel) + Metropol Vokalisten D Odeon 31525 3 / 3+ 6.- Ich wünsch‘ dir eine gute Nacht! F+ / Kleine Mitsu EW + Berlin, 28.8.1939 nett! lscrs 3681 Kurt Abraham Solisten D Imperial 17384 4 / 4+ 4.- Mein Herz hat heut‘ Premiere F / Ich hab‘ dich und du hast mich F Berlin, September 1942, mehrere lscrs, Label leicht blaß 1310 Die Accordeon Babies D Pol 11278 3+ / 3++ 7.- Tanzende Finger - Marschfox / Abends spielt die Veronika so schön Harmonika (Valzer des Fisarmonica) W Berlin, 31.7.1939, lscrs, spielt gut 1168 Die Accordeon Babies D Gram 11275 3+ / 2- 7.- Böhmische Polka (Skoda Lasky - Rosamunde frag doch nicht erst die Mama) / Spatzenpolka Berlin, 26.9.1939, erste Aufnahme der Truppe 2578 Joe Alex Solisten mit Karl Golgowski D Tempo 5087 2-- / 2-- 5.- Es sind viele Jahre vergangen F+ / Kleiner Hampelmann - Foxintermezzo + ca. Dezember 1941 Seite 1 nicht schlecht . 2669 Amiga Tanzorchester (wohl Leitung Henkels) Erwin Hartung und die singende Vier D Amiga 50/394 2- / 2 6.- Weißt du was das heißt F / Herr Kapellmeister . bitte einen Tango + Berlin, 1954 2871 Ramond Baird Saxophon Virtuose mit Peter Kreuder Flügel D Tel A 1927 2-- / 2-- 8.- The Lady in Red F / Isn‘t this a lovely Day Berlin, 10.3.1936, zwei mini Nester lscrs leise hrb 55 Bar Trio D Gram 47417 2-- / 2-- 9.- Wenn ich wüßt‘ wen ich geküßt (Um Mitternacht am Lido) F / Bei Kerzenlicht sieht alles so romantisch aus F Berlin, 29.3.1940, lscrs Seite 1 Ref.Nr. -
Performing for the Nazis: Foreign Musicians in Germany, 1933-1939
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-04-24 Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 Bailey, Robert Warren Bailey, R. W. (2015). Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27304 http://hdl.handle.net/11023/2167 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 by Robert Warren Bailey A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, MUSIC CALGARY, ALBERTA APRIL, 2015 © Robert Warren Bailey 2015 Abstract This thesis focuses on foreign musicians in Nazi Germany from 1933 to 1939. What place did foreign musical performers have in Germany’s increasingly xenophobic employment market during the 1930s? Likewise, how did the Nazis deal with those musicians, and what margin of manoeuvre were foreigners given to carry out their craft? These are the questions that form the basis of this thesis. To answer them, I examine a collection of primary Reichsmusikkammer (Reich Music Chamber) records that are now held on microfilm in the United States National Archives, grouped under the description “Auftrittsgenehmigungen für Ausländer” (Performance Permits for Foreigners; specifically musicians).