Composing the Canon: Narratives of Romanticism in the German Democratic Republic

创作正典：德意志民主共和国浪漫主义的叙述

• 批准号: AH/H038981/1
• 负责人: Elaine Kelly
• 金额: $ 8.61万
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH038981%2F1
• 关键词: Composing; Canon; Narratives; Romanticism; German

The political scientist John Keane notes that 'crises are times during which the living do battle for the hearts, minds and souls of the dead' (Keane, 1988), an observation that is pertinent to the reception of the canon in Cold War Germany. In the 1950s the musical canon emerged as a focal point for pan-Germanic tensions, and anniversaries of Germany's illustrious musical figures were seized upon in both the Federal Republic and the GDR as nation-building and propaganda opportunities. Constructs of the canon in the GDR reflected the ideals of collective socialism and reinforced official narratives of the state as the true successor to the heritage of the German Enlightenment. By the 1970s in contrast, as the promised socialist utopia failed to materialise, the canon emerged as a vehicle for the GDR's discontented to express their disillusionment and to criticize the state. Artists no longer identified with portrayals of figures such as Beethoven and Schumann as revolutionary heroes; far more relevant were interpretations that focused on their isolation and alienation from nineteenth-century society. Focusing on the reception of romanticism and the wider nineteenth-century musical heritage, this project explores constructs of the canon in the GDR. I examine official and academic narratives and analyse a range of creative responses to the romantic tradition, including compositions, opera productions, and films. At the heart of the project is the premise that canons serve as a site for contemporary political, social, and cultural discourse. I am interested in determining how external factors such as major political crisis points shaped canonic reception, and in turn explore the extent to which this reception can serve as a lens through which to explore the heterogeneity of musical culture in the state. My project aims to challenge the current literature on music in the GDR, which adheres firmly to paradigms of dictatorship that have come under harsh scrutiny in other disciplines. Recent studies of canonic reception focus solely on government appropriation of the canon. They portray the state as a monolithic top-down regime and East German musicians simply as an extension of the party (Thacker, 2007; Janik, 2005; Potter, 2003; Klingberg, 1997). My research seeks to move musicology beyond these ideological and methodological constraints in order to construct a more accurate picture of musical culture in the GDR. The project is based on extensive research in state archives, opera archives and in the archive of the Akademie der Künste. This work is complemented by studies of newspapers, journals and monographs on nineteenth-century music that were published in the state, and by analyses of musical scores and audio-visual materials. This diverse range of sources allows for a much more nuanced picture of musical practices in the GDR to emerge. I contest the prevailing notion that a single official construct of the canon permeated all aspects of musical life, and explore how the various responses to romanticism reveal not only the complexity of the relationships between artists and politicians, but also the spaces for creativity that existed in discourses of power and censorship. Ultimately this raises questions about the artistic legacy of the GDR, and undermines current tendencies to deny the legitimacy of art produced in the state.

政治学家约翰·基恩（John Keane）指出，“危机是生者为死者的心灵、思想和灵魂而战的时刻”（Keane，1988），这一观察与冷战时期德国对正典的接受有关。在20世纪50年代，音乐经典成为泛日耳曼紧张局势的焦点，德国杰出音乐人物的周年纪念日在联邦共和国和东德都被视为国家建设和宣传的机会。德意志民主共和国的正典结构反映了集体社会主义的理想，并加强了官方对国家作为德国启蒙运动遗产真正继承者的叙述。相反，到了20世纪70年代，由于承诺的社会主义乌托邦未能实现，正典成为东德不满者表达他们的幻灭感和批评国家的工具。艺术家们不再把贝多芬和舒曼等人物描绘成革命英雄;更相关的是专注于他们与19世纪社会的隔离和疏远的解释。该项目侧重于浪漫主义和更广泛的十九世纪音乐遗产的接受，探索了东德经典的结构。我研究官方和学术叙事，并分析了一系列的浪漫主义传统的创造性反应，包括作品，歌剧作品和电影。该项目的核心是一个前提，即大炮作为当代政治，社会和文化话语的网站。我感兴趣的是确定外部因素，如主要的政治危机点形规范的接收，并反过来探讨在何种程度上，这种接收可以作为一个透镜，通过它来探索国家的音乐文化的异质性。我的项目旨在挑战目前的文学音乐在民主德国，坚持坚定的独裁范式，已受到严厉审查，在其他学科。最近对正典接受的研究仅仅集中在政府对正典的拨款上。他们把国家描绘成一个自上而下的铁板一块的政权，而东德音乐家只是党的延伸（Thacker，2007; Janik，2005; Potter，2003;克林贝格，1997）。我的研究旨在使音乐学超越这些意识形态和方法论的限制，以构建一个更准确的音乐文化在民主德国的图片。该项目基于对国家档案馆、歌剧档案馆和艺术学院档案馆的广泛研究。这项工作的补充是对该州出版的19世纪音乐的报纸、期刊和专著的研究，以及对乐谱和视听材料的分析。这种多样化的来源允许一个更微妙的图片音乐实践在民主德国出现。我质疑流行的观念，一个单一的官方结构的经典渗透到音乐生活的各个方面，并探讨如何浪漫主义的各种反应不仅揭示了艺术家和政治家之间的关系的复杂性，而且还存在于权力和审查的话语创造力的空间。最终，这引发了对民主德国艺术遗产的质疑，并削弱了当前否认国家艺术合法性的趋势。

项目成果

Art as Utopia: Parsifal and the East German Left

作为乌托邦的艺术：帕西法尔和东德左派

• DOI: 10.1093/oq/kbu021
• 发表时间: 2014
• 期刊: The Opera Quarterly
• 作者: Kelly E

Composing the Canon in the German Democratic Republic: Narratives of Nineteenth-Century Music

在德意志民主共和国创作佳能：十九世纪音乐的叙述

• 发表时间: 2014
• 作者: Kelly, E

Remembering and Rethinking the GDR

记住并重新思考东德

• DOI: 10.1057/9781137292094_8
• 发表时间: 2013
• 作者: Kelly E