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

这个项目调查当代音乐实践，参与纳粹时期和二战在德国的纪念，重点是对政权的抵抗和迫害的主题。它在方法论和理论上属于民族音乐学领域，并辅之以人类学、历史音乐学、媒体研究和记忆研究的视角。该项目以人们通过音乐实践构建对过去的再现为前提，考虑到音乐流派的多样性（例如创作歌手、艺术和实验音乐、朋克摇滚、嘻哈）和社会代理人和社会文化环境（例如，艺术家个人及其观众，可能是活跃音乐家的目击者，地下音乐现场，激进的反法西斯圈子，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、西德德国战后几十年纪念活动的遗产。在这里，核心是当代音乐家与前几代艺术家和音乐活动的关系。在所有这些情况下，我们探索音乐制作的贡献，以谈判纳粹过去的集体记忆，并在艺术和公共话语的迫害，歧视，暴力，战争，武装抵抗和公民不服从的主题化。考虑到记忆是叙述过去、生活现在和想象未来之间的中介，特别关注在这一过程中调动的新颖的音乐资源和集体情感，以及如何唤起对纳粹过去的记忆提供了一个关键的竞技场，以解决德国和欧洲当前的社会问题，包括对移民和难民的种族主义，极右和仇外运动的复兴，以及因社会经济边缘化和基于种族、宗教或性别的不平等而产生的斗争。该项目通过三个互补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论角度探讨了音乐纪念的整体主题，从而使通过音乐进行记忆的三个关键维度依次成为前景：文化身份，地方性和媒体。这三个方案包括：第一，对辛提和罗姆少数民族的研究（文化认同）;第二，对柏林城市环境和记忆景观的研究（地方）;第三，对当代“传统”和“新”媒体实践和媒体景观的研究（媒体）。探索音乐，记忆和迫害/抵抗纳粹政权的关系，该项目旨在为音乐奖学金，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.