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FOLKSONG RESEARCII and NATIONAL IDENTITY in WEST GERMANY, Ig4g-Ig7o

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FOLKSONG RESEARCII AND NATIONAL IDENTITY IN WEST GERMANY, Ig4g-Ig7O By Ryan Michael Maier A Thesis Submitted_to rhe Faculty of Graduate Studies of the University of Manitoba in panial Fulfilhnent of the Requirements for the Degree of Master of Arts in History Department of History University of Manitoba Wimipeg Copyright @2007 by Ryan Maier THE UNTYERSITY OF MANITOBA FACULTY OF G-RAD*UATE STUDIES COPYRIGHT PERMISSION FOLKSONG RESEARCH AND NATIONAL IDENTITY rN WEST GERMANY, 1949_197 0 BY Ryan Michael Maier A ThesislPracticum submitted to the Faculfy of Graduate Studies of The University of Manitoba in partiat fulfillment of the requirement of the degree MASTER OF ARTS Ryan Michael Maier @2007 Permission has been granted to the Universify of Manitoba Libraries to lend a copy of this thesis/practicum, to Library and Archives Canada (LAC) to Iend a copy of this thesiiþracticum, and to LAC's agent (UMlÆroQuest) to microfilm, sell copies and to pubtish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced ána õpieA as permitted by copyright laws or with express written authorization from the copyright ownér. CONTENTS Abstract Acknowledgements II Abbreviations iii iv Introduction The Musicologists I The Historiography 2 of German Nationalism and Music 7 On Nationalism and National Identity 11 Key Definitions and Concepts 18 Folksongs, Musicology, unà Nationalism in Germany to the First World V/ar 20 The'Weimar Republic 24 The Years of National Socialism Postwar West Germany 27 30 Continuities in German Self-Understanding 34 Musicology and the National SocialisiState "The 35 Altered orientation of schorarship in the National sociarist 39 State"': Trends in Nazi_era Musicology Mapping Greater Germany Under the Nazis 44 Folksong Research in West Germany Mapping Greater postwl 50 Germany in Folksong Research A Germanocentric Legacy 53 A People of Music 55 Ideological Transformations 58 Denying the past 62 64 Denationalizing Folksong Research 69 National ldentity in postwar West Germany 72 Inventing a European Community Conclusion 76 Silence on the past 86 Approach 86 Lh"lei$ tle to the Fotksong oo The Cold War oo 9t Music and Identity to Today 92 Bibliography 94 ABSTRACT By investigating how folksong research transformed in Germany ro rhe FederaiRepubri" the tra'sition from Nazi oiõ"lruny, ,ht,,hãri, rnquires inro German narionar identitv. ti examineïrr. changes of r*iii"Ë;;f;;-rp of folksong plaved an imporrarr,i"t: in r"_rhrf-iÇ schorars who German id;;iryjr";he aftermath oithe V/orld Vy'ar and the Nationul So"iTtiri second regime in C.rnunv. The thesis meanings with which scholars i"u.rt.ã-rã'lîr-oöJiänj3a, rraces how rhe and it exprores the ways in oj|ffi rb ik ;;"s' to prom o te uI diff"...,t d*;, ;ì H :ÏÏï"iH;î ffi* ir;ent n ati on ar In Nazi Germany, officials fostered and supported because they research on German folksongs, berieved túat th"r. ;;;;; expressed tirl .rr.o.. of German national character' The other way around, misicoiogirtr-"¡r"iLrãîg, enterprise to the Nazi by i'tusing their research wirh rãlt¡iri tåüiräd "ont.ibuted They argued rhat tr'. -u'ic orother cui,rr.J*¿"on".pts. r.eitî,r,i,.Jã'päri,i", ii:äi:,ï:äîîff ,r",to or After the defeat of Nazi Germany and the creation of the west 1949' some scholars co,ntinued German state in to propagate ideas of cultural superiority musical nationalism and German in their work. ï;; the first w.ri rntegrate the c"r*an government worked to FRG into the communitv'of"r v¿este'i style nationalist r"od; nations and discouraged agendas, music t.rro-í*r tlärîpjrourr, ord- helped to engineer "rrung.a to forksong research and a metamorphosis in Ge'man nationa the folksong îååntity. rnrt.uJãFi¿.nrifying with ideats or c.ìmui1uriur. rup., denationalized il;l;läng musicoto gists their research rnethods and re-inve"rååìt.'älksong coûrmon European as a syrnbol of a heritage. some the schorar, aggressive ;;;;;;viousry promoted an and exclusivisi nationalism in their propagate work, no*îr"¿ folksong research a German identity that understood to itself as a part of cosmopolitan Europe. a democratic and ,dCKNOWLEDGEMEI\{TS In preparing for this thesis, I benefited greatly from the advice thesis and criticism of my advisor Ben Baader. I also trrunL RavinJiran vuitirr"spura, Daniel stephan Jaeger, and Stone for their valuable insights and comments. rll ABBREVI,dTIONS CDU c hr i s t l i ch- D e mo lw at i s c he union (christian Democratic u'ion) DVA D e ut s c e h s V o I ks I i e d ar c hiv (G erman fo lks on g archivej EC European Comrnission FRG Federal Republic of Germany (West Germany) GDR German Democratic Republic (East Germany) LV Lands c haft liche Vo t trsli e der (Regional foksóágs) NSDAP N at i s o z onal i al i s ti s c he de ut s c he Àrb e i te rp arrøi Qrlational S ocialist German Vy'orkers' party) SPD o z i p s al de mo h^ at i s c he ar t e í e D ut s c hr ands (German S ocial Democratic Party) SS s c hut z s taffel (Preto'ian platoon; National s ocialist elite formation) IV SECTION 1 INTRODUCTION: HISTORIOGRAPHY AND HISTORY This study on folksong research explores an aspect of the history of the transition of Nazi Germany to the Federal Republic of Gelmany (west Germany). In 1945 there was no real "zeto hour" in which something ended and something completely different began'l In west Germany, due to the failule of Allied denazification programs, much of the old political structure remained intact and cultural elites that had held prominent positions in the Nazi years retained power and influence. Nevertheless, fascism came to an end under the guidance of the Allies, and the Gemans in the western zones elected a parliame'taly democracy while retaini'g a capitalist economy. The fundamental question I address in this thesis concerns the shifting of German national identities. Music, both classicai and folk, has played a significant role in defining German national identity, and German musicologists have historically had a large influence on Germans' musical self-understanding. Tluough an examination of the published worlcs of folksong musicologists in this era of transition, I investigate the ways in which German selÊunderstanding changed. I argue that postwar folksong scholars interpreted the national significance of the folksong in ways that reflected their own personal adjustments to life in Nazi Germany and in the FRG. I' particular, I describe how postwar musicoiogical claims to identifying the existence of a European folk cultule offered intellectual support for the'west German govemment's policies of European economic and cultu'al integration during the first decades of trre cord war.. I Eva l(olinsky and wilû'ied van der will, "In search of German culture: An Introduction,,, in Moder, eds' Eva Kolinsþ an¿ wilrrie¿ van der wilild'u;td;e: ?;';{r:rl*ture, camtrridge university press, on the other hand, I show how some scholars continued to promote forms of musical nationalism in ways that had changed little since the Nazi years. In fact, assefiions of German musical superiority survived in a number of postwar writings, and some musicologists continued to pursue a politics of cultural imperialism. Thus, my study postwar on musicologists tells a cornplicated stor.y of continuity and change. The lives and writings of these schorars help us to gain insight into the ways in which Germans maintained and altered the boundaries and the character of their musically- imagined nationar communities befween the r930s and the r970s.z The Musicoloeists To explore this topic, I chose to examine the w'itings of a group of musicologists whose works have been largely neglected in studies of German national identity and nationalism' The study of folksongs has been predominantly the domain of comparative musicologists' or ethnoffrusicologists, and many of the scholars I discuss in this thesis worked in this particular f,reld of musicology. with them, folklorists, folkso'g collectors, and scholars of various disciplinary stripes formed a professional community who fi'equently referred to each other's research and occasionally engaged in dialogues. Most of these music scholars had started their careers during the Nazi era or even before, and they continued their scholarly activities in the postwar decades. Indeed, it is precisely the fact that so many scholars who were emproyed in Nazi-sponsored projects quickry t I adopted the concept of a musically imagined community, itself notion of imagined derived from Benedict Anderson,s corununities-(seË urro!ãg. oftihis Born and ,ìtnt ry.lve i"t from Georgina Born. David Hesmondhargrr, oa*iãi, on "ã"ìtiLl, Georgina Music," oi¡r"r.n..;;i;;;;;;rario', and Appropriarion in Irestern Mus¡c an:d is in oyrit' o,¡"re.nce,-Repres*toi¡or, or¿ Appropriaiion Georgina Born and David în Music, ed,s. Hesmondhargl press, 1ã'J*.r.y,'u"i";urlïäiiro'''ru 2000), 35_6. resumed their research after the seconcl worrd war that makes this group such an interesting object of investigation. walter wiora (1906-1 997) wasone of the most influentiar and weil-pubrished of these musicologists' He first found a home for himserf at a reading research institute, the Deutsches vollrsliedarchÌv (German Folksong Archive, hereafter DVA), established in 1914 by John Meier at Freiburg irn Breisgau, in r 936 and worked there to 194r.
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