Kira Thurman is Associate Professor of History, German Studies, and Musicology at the University of Michigan. A classically trained pianist who grew up in Vienna, Austria, she is also a founder of the website blackcentraleurope.com.
Inhaltsangabe
Introduction Part I: 1870-1914 1. How Beethoven Came to Black America: German Musical Universalism and Black Education after the Civil War 2. African American Intellectual and Musical Migration to the Kaiserreich 3. The Sonic Color Line Belts the World: Constructing Race and Music in Central Europe Part II: 1918-1945 4. Blackness and Classical Musicin the Age of the Black Horror on the Rhine Campaign 5. Singing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Music in Interwar Central Europe 6. "A Negro Who Sings German Music Jeopardizes German Culture": Black Musicians under the Shadow of Nazism Part III: 1945-1961 7. "And I thought they were a decadent race": Denazification, the Cold War, and (African) American Involvement in Postwar West German Musical Life 8. Breaking with the Past: Race, Gender, and Opera after 1945 9. Singing in the Promised Land: Black Musicians in the German Democratic Republic Conclusion
Introduction Part I: 1870-1914 1. How Beethoven Came to Black America: German Musical Universalism and Black Education after the Civil War 2. African American Intellectual and Musical Migration to the Kaiserreich 3. The Sonic Color Line Belts the World: Constructing Race and Music in Central Europe Part II: 1918-1945 4. Blackness and Classical Musicin the Age of the Black Horror on the Rhine Campaign 5. Singing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Music in Interwar Central Europe 6. "A Negro Who Sings German Music Jeopardizes German Culture": Black Musicians under the Shadow of Nazism Part III: 1945-1961 7. "And I thought they were a decadent race": Denazification, the Cold War, and (African) American Involvement in Postwar West German Musical Life 8. Breaking with the Past: Race, Gender, and Opera after 1945 9. Singing in the Promised Land: Black Musicians in the German Democratic Republic Conclusion
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