University of Alberta Music and the Nazi Party Congresses: Its Role In Spectacle. Festival and Ritual Kathy Cam1 Reinert A thesis submined to the Faculty- of Grachiate Studies and Research in partial fuifiilment of the requirernents for the degree of Master of Music in Musicology Department of Music Edmonton Alberta Fall 1997 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington OthwaON KIAOM Wwa ON KI A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copwght in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial e-acts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This study examines the role of music m the Nazi Party Congresses in an attempt to discover how the Nazis employed music m practicd ways to affect, inspire, and even manipulate the German people. The Congresses are examined as a compIex cultural performance system in whïch metaphorical fiames surround individual compments ofthe system: living spectacle, performance spectacle, Wval and ritual. The ûames distinguish between certain cultural performances at the Nazi Congresses in Nuremberg, provide a means to detennine music's role in those performances, note the behavior of the participants and spectators, and discover reIationships between the fiames to beüer understand the system as a whole. Music is a unifylng element in the Congress performance system because it transcended the fiame boundaries, unifyuig the whole system around the Volk. JUS as the Volk represented the Genan people past and present, their common history, race and heritage, music also becarne pan of this identrty in the context created by the Nazis at the Congresses. 1 would fieto thank Dr. David Gramit of the Music Departmat ofthe University of Alberta for his work as my advisor for this paper. His advice was mwluable to my research and writing. Befbre Ïts final version, several readers helped to edit the paper and 1 would iike to recognize their contri'bution: Karen Rendek, Sherri Rendek, Dr. Bruce Ritchie, Margaret Ritchie, Liane SpiIlios, Andre Sraszkiewicz and Dr. Henry Klumpaihouwer. During the course of rny Masters Degree, 1was fortunate enough to becorne a mother. 1 am indebted to Carolyn W'ïamsan who took such fine care of my son two days a week during the completion of this thesis. Most irnportantly, I would like to thank my amily for their support, and specifically my husband Chris and son Tyler. K.C.R. September, 1997 Table of Contents Cha~terOne Introduction ...................................................................................................... 1 Methai of ïnquiry .............................................................................................-5 Definitions .......................................................................................................8 &urr;es of Congress Infiormation .......................................................................... -14 Chacteristics of Congresses.............................................................................. -14 Chapter Two Lhing Spectacle and Performance Spectacle Frames of Nazi Party Congresses.................... -21 The Crowd and Spectacle .................................................................................... 22 Music and Spectacle ......................................................................................... -24 Music and Living Spectacle ................................................................................ -24 Music and Performance Spectacle ......................................................................... -27 Conclusion .................................................................................................... -35 Chapter Three Festival Frame of the Nazi Party Congresses ............................................................. 38 Historical and National Festivals ......................................................................... ..3 9 Festivals: Background to the Congresses ................................................................. .-ï 1 Music's Role in Festivals .................................................................................... cbl Music's Role in the Festival Frame of the Nazi Ruty Congreses ..................................... 58 Chapter Four Ritual Frame of the Nazi m-Congresses ............................................................... 72 Ritual ............................................................................................................. 73 Structure of Nazi Rituals .................................................................................... -77 Repetitive Elements in Nazi Congresses ................................................................... 79 Sacred Space and Staging .................................................................................... 81 Music's Role in Ritual at the Nazi Congresses ........................................................... 85 Liminal Phase and Music .................................................................................... 87 Chauter Five Music and the Performance System of the Nazi Par@Congresses ..................................... 91 Endnotes Chapter One ................................................................................................... -97 Chapter Two ................................................................................................. -98 Chapter Tbree ............................................................................................99-100 Chapter Four ........................................................................................... f 0 1 - 102 AoDendioes Appendix A: German National Anthem (Deutschland Uberdfles)................................ 107 Appendix B: Horst Wessel Lied ......................................................................... -110 Appendix C: What is the German Fatherland? (Wasisr des Deutschen Vaterland?)............. 111 Appendis D: Watch over the Rhine (Die Fr'acht am Rhein) .......................................... 1 14 Appendis E: I Had a Cornrade (Ich hatt ' einen Kameraden) ........................................ 1 15 List of Figures and IlIustrations Figure 1 : MacAloon's Performance System of the Olympic Games ........................... 5 Figure 2: Cultural Performance System of the Nazi Party Congresses............................... -7 Figure 3: Nazi Party Congresses .......................................................................... -16 Figure 4: Heidehrg Music-Folk Festivai: June 541838 .............................................. 46 Figure 5: Hambach National Festivai, 1832 ..............................................................47 Figure 6: Nazi Congress Program Nuremberg 1936 .................................................60-6 1 Figure 7: Structure for National Socialist Celebrations and Ceremonies ............................. 78 Figure 8: Repetitive Elements in Nazi Congresses................................................ 79 Figure 9: Role of Music in the Cuiturai Performance System of the Nazi Party Congresses..... -92 Cha~terOne INTRODUCTION The National Sociaiist Party of Germany held very successful large scale political meetings known as Reiciupmteiiage (Party Days) in Nuremberg between 1927 and 1938. These Congresses were carefuliy plmeci and orchestrated. They were used as tools to extend Nazi ideology and political liturgy to a great number of people at one time. Part of the Nazis' success in this regard is owing to their use of a strong German musical heritage to impress, inspire, entertain and unite their supporters. What follows is my investigation of music's role in the Nazi Congresses. At the Nazi Party Congresses in Nuremberg, masses of people saiuted Adolf Hitler and pledged their allegiance to the Fiihrer. Thousands cheered and waved flags as Hitler passed by in an open automobile. At the rallies, strictly ordered columns of people stood perfèctly straight and miIl, liaenhg to the words of their leader. To the beat of military music, endless streams of flags bearing the swastika were marched ceremoniously in carefiilly choreographed patterns. Some rallies were dedout in darkness. Electrical lights focused on the platfom where huge flags were draped to set the stage for Hitler's address to the people. Foreign press agents were invited and hosted by the Reich in significant numbers. Indeed, by 1938, the Congresses becarne one of the most important annuai political events for the foreign press in the world. Hitler's speeches were often translated and printed in foreign newspapers or supplements. His final speech of the 1938 Congress was trandated and prioted in its entirety in HoUand, Denmark, Fuiland, Brazil, Asgmtina and the United States among others.' In the United States