Music and dictatorship

Music plays a decisive role in dictatorships. Like no other art, it appeals to people’s emotions without detours via the intellect, which totalitarian regimes like to undermine. Music, as everyone knows, can overwhelm, and ruling powers have exploited this potential at all times. In dictatorships, this usually happened in a planned manner and on a large scale. Music policy in almost all regimes shows certain similarities. One of its basic features is that it distinguishes between desired music (music that benefits the regime) and undesired music (music that does not benefit or even harms the regime) and acts in two directions: Desirable music and its composers are strongly promoted, while undesirable music and its composers are marginalised, suppressed or made to conform.

Research on this topic is intensively pursued at our university. It is one of the focal points of the chair professor of Historical Musicology (Prof. Dr. Friedrich Geiger) and is permanently represented by its own institution, the Ben-Haim-Forschungszentrum. One of its central goals is the (re)discovery of suppressed repertoire, which is also regularly performed in close cooperation with artistic colleagues. Regular publications on the subject appear in the series »Musik und Diktatur« (»Music and Dictatorship«, Waxmann Verlag).

Institutions and editorial work

Director Ben-Haim-Forschungszentrum

Tobias Reichard

Dr. Tobias Reichard

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