Sounding Memories - Nazi Persecution and Anti-Nazi Resistance in the Music of Contemporary Germany

该项目调查当代音乐实践，涉及纳粹时期和德国二战的纪念活动，重点是抵抗和迫害政权的主题。它在方法论和理论上都处于民族音乐学领域，并辅之以人类学、历史音乐学、传媒学和记忆研究的视角。该项目以人们通过音乐实践表现过去为前提，考虑了多种音乐流派(如创作型歌手、艺术和实验音乐、朋克摇滚乐、嘻哈)以及各种社会因素和社会文化环境(如个别艺术家及其观众、可能是活跃音乐家的目击者、地下音乐界、反法西斯武装团体、机构倡议、互联网社区和少数群体)。该项目强调对1989年后的纪念活动的审查，但也追溯了东德和西德战后几十年期间纪念活动的遗产。在这里，中心是当代音乐家与前几代艺术家和音乐倡议的联系方式。在所有这些情况下，我们探讨了音乐对集体记忆纳粹历史的谈判的贡献，以及对艺术和公共话语中迫害、歧视、暴力、战争、武装抵抗和公民抗命的主题化的贡献。考虑到记忆是叙述的过去、活着的现在和想象的未来之间的中介，特别关注在这一过程中动员起来的新的音乐资源和集体情感，以及对纳粹过去的记忆如何提供一个关键的舞台来解决德国和欧洲当前的社会问题，包括针对移民和难民的种族主义、极右翼和仇外运动的死灰复燃，以及社会经济边缘化和基于族裔、宗教或性别的不平等所造成的斗争。该项目通过三个相辅相成的研究方案来实现其目标。每个场景都从不同的主题和方法角度探讨了音乐记忆的总体主题，因此通过音乐进行记忆的三个关键维度依次被突出：文化身份、地点和媒体。这三个方案包括：第一，对辛提人和罗姆少数民族的研究(文化特性)；第二，对柏林的城市环境和记忆景观的研究(当地)；第三，对当代“传统”和“新”媒体实践和媒体风貌(媒体)的研究。该项目探索迄今未被充分研究的音乐、记忆和纳粹政权迫害/抵抗之间的关系，旨在为音乐学术、文化研究、记忆研究、文化和社会人类学、历史、媒体研究和少数民族研究做出实质性贡献。

This project investigates contemporary musical practices that engage with the memorialization of the Nazi period and WWII in Germany, with a focus on the topics of resistance to and persecution by the regime. It is situated methodologically and theoretically in the field of ethnomusicology, complemented by perspectives from anthropology, historical musicology, media studies and memory studies. Building on the premise that people construct representations of the past through musical practices, the project takes into account a multiplicity of music genres (e.g. singer-songwriters, art and experimental musics, punk-rock, hip-hop) and of social agents and sociocultural milieus (e.g. individual artists and their audiences, eyewitnesses who may be active musicians, underground music scenes, militant antifascist circles, institutional initiatives, Internet communities and minority groups). The project emphasizes an examination of post-1989 memorializations, but also traces the legacy of memorializing practices during East and West Germany's post-war decades. Here, central are the ways in which contemporary musicians relate to earlier generations of artists and musical initiatives. In all these instances, we explore the contribution of music making to the negotiation of a collective memory of the Nazi past, and to the thematization of persecution, discrimination, violence, war, armed resistance and civil disobedience in artistic and public discourses. Considering memory as a mediator between narrated past, lived present and imaged futures, special attention is devoted to the novel musical resources and collective sensibilities mobilized in the process, and to how sounding the memories of the Nazi past offers a critical arena to address current social issues in Germany and in Europe, including racism against immigrants and refugees, the resurgence of far-right and xenophobic movements, and the struggles resulting from socioeconomic marginalization and inequalities based on ethnicity, religion or gender. The project pursues its objectives through three complementary research scenarios. Each scenario explores the overall topic of musical memorialization from a distinct thematic and methodological angle, such that three crucial dimensions of memory making through music are in turn foregrounded: cultural identity, locality, and media. The three scenarios consist of, first, a study of the Sinti and Roma minority (cultural identity); second, a study of the urban environment and memoryscape of Berlin (locality); third, a study of contemporary "traditional" and "new" media practices and mediascapes (media). Exploring the so far understudied nexus of music, memory and persecution by/resistance to the Nazi regime, the project aims to make substantial contributions to music scholarship, cultural studies, memory studies, cultural and social anthropology, history, media studies, and minority studies.