LEADER 03364oam 22006254a 450 001 9910956766203321 005 20251116170853.0 010 $a0-253-04244-5 010 $a0-253-04243-7 035 $a(CKB)4100000008770540 035 $a(MiAaPQ)EBC5837277 035 $a(MiAaPQ)EBC6286022 035 $a(OCoLC)1060178112 035 $a(MdBmJHUP)muse91673 035 $a(MiAaPQ)EBC6126121 035 $a(BIP)65228574 035 $a(BIP)65228581 035 $a(EXLCZ)994100000008770540 100 $a20181015h20192019 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aRubble Music$eOccupying the Ruins of Postwar Berlin, 1945?1950 /$fAbby Anderton 205 $a1st ed. 210 1$aBloomington, Indiana :$cIndiana University Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (198 pages) 311 08$a0-253-04242-9 311 08$a0-253-04241-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- Berlin soundscapes of defeat and occupation -- Occupied music: the Berlin Philharmonic and the American military -- Rubble opera after 1945: East Berlin's Staatsoper and West Berlin's Sta?dtische Oper -- Embodied and disembodied voices: listening to sonic ruins -- Berlin 1945: toward a ruin aesthetic in music -- Conclusion. 330 $aAs the seat of Hitler's government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music , Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war. 606 $aNachkriegszeit$2gnd 606 $aMusikleben$2gnd 606 $aKlassische Musik$2gnd 606 $aMusic$2fast$3(OCoLC)fst01030269 606 $aMusic$zGermany$zBerlin$y20th century$xHistory and criticism 607 $aBerlin$2gnd 607 $aGermany$zBerlin$2fast 608 $aCriticism, interpretation, etc. 615 7$aNachkriegszeit. 615 7$aMusikleben. 615 7$aKlassische Musik. 615 7$aMusic. 615 0$aMusic$xHistory and criticism. 676 $a780.94315509044 700 $aAnderton$b Abby$01866426 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910956766203321 996 $aRubble Music$94473833 997 $aUNINA