The Political Instrumentalization of Music of the Past in 20th Century Germany: The Example of George Frideric Handel

20世纪德国过去音乐的政治工具化：乔治·弗里德里克·亨德尔的例子

• 批准号: 251798161
• 负责人: Professor Dr. Wolfgang Hirschmann
• 金额: --
• 依托单位: Abteilung Musikwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2014
• 资助国家: 德国
• 起止时间: 2013-12-31 至 2017-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/251798161?language=en
• 关键词: Political; Instrumentalization; Music; Past; 20th

As research project which deals with the question of how music of the past had been instrumentalized in Germany in the 20th century, this study is part of the extensive topical context of the relation between music and politics. This question will be made concrete by examining the attitudes towards the work of George Frideric Handel as composer and one of the central figures of musical heritage, who was understood as political composer already during his lifetime, and accordingly since then had been used as such. This became extremely obvious during the times of both dictatorships in Germany during the 20th century. The project intentionally refers to a wider period of time - the whole 20th century - to not only be able to address extreme manifestations of politicized music, but also to present, describe, analyze and compare the widest possible range of forms of politically used music in various forms of government and different social systems and societies.As far as the political perception of Handel in the 20th century is concerned, the following different areas will be examined:- theories of political instrumentalization of music- Handel images and particularly political interpretations of Handel- the politicization of institutions engaged in Handel cultivation- Handel anniversaries as main focusing points in history as far as the relation between music and politics is concerned; Handel's compositions in the center of celebrational acts and celebrations- politically intended remakes, presentations and interpretations of Handel's compositions.The methodical basis of the research project is a bi-comparative approach: On the one hand it compares dimensions, techniques and functions of the political exploitation of music during the two German dictatorships of the 20th century, on the other hand it examines the differences in the political usage music between the German dictatorial and non-dictatorial forms of government. Besides, the project uses an interdisciplinary approach and will imply a variety of research methods, embracing both results of related historical disciplines and approaches like the social history of ideas, discourse analysis and history of mentalities. The main focus lies on the critical evaluation of sources and on reception history. The project can resort to extensive groundwork in the exploitation and archiving of source material. The results of the research project are meant to be presented and discussed at an interdisciplinary conference and finally will be published in a monograph.

作为一个研究项目，它处理的问题是过去的音乐是如何在20世纪的德国被器化的，这项研究是音乐与政治之间关系的广泛主题背景的一部分。这个问题将通过检查对乔治·弗里德里克·亨德尔作为作曲家和音乐遗产的中心人物之一的工作的态度而变得具体，他在他的一生中已经被理解为政治作曲家，因此从那时起就被这样使用。这一点在20世纪德国两大独裁统治时期尤为明显。该项目有意涉及一个更广泛的时期-整个20世纪-不仅能够解决政治化音乐的极端表现，而且还呈现，描述，分析和比较在各种形式的政府和不同的社会制度和社会中最广泛的政治音乐形式。就20世纪对亨德尔的政治看法而言，将考察以下不同领域：-音乐的政治工具化理论-亨德尔形象，特别是对亨德尔的政治解释-从事亨德尔培养的机构的政治化-亨德尔周年纪念作为音乐与政治之间关系的主要焦点；亨德尔的作品在庆祝活动和庆祝活动的中心-政治意图的重拍，展示和解释亨德尔的作品。该研究项目的方法基础是一种双比较方法：一方面，它比较了20世纪德国两次独裁统治期间音乐政治利用的维度、技术和功能，另一方面，它考察了德国独裁和非独裁政府形式之间政治使用音乐的差异。此外，该项目采用跨学科的方法，将包含多种研究方法，既包括相关历史学科的成果，也包括社会思想史、话语分析、心态史等方法。主要的焦点在于对来源和接受历史的批判性评价。该项目可以在原始材料的开发和存档中进行广泛的基础工作。该研究项目的结果将在一个跨学科会议上提出和讨论，最后将在一本专著中发表。