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Singing Like Germans: Contents

Singing Like Germans
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Notes

table of contents
  1. Acknowledgments
  2. Note on Translation
  3. Introduction
  4. Part I: 1870–1914
    1. 1. How Beethoven Came to Black America: German Musical Universalism and Black Education after the Civil War
    2. 2. African American Intellectual and Musical Migration to the Kaiserreich
    3. 3. The Sonic Color Line Belts the World: Constructing Race and Music in Central Europe
  5. Part II: 1918–1945
    1. 4. Blackness and Classical Music in the Age of the Black Horror on the Rhine Campaign
    2. 5. Singing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Music in Interwar Central Europe
    3. 6. “A Negro Who Sings German Lieder Jeopardizes German Culture”: Black Musicians under the Shadow of Nazism
  6. Part III: 1945–1961
    1. 7. “And I Thought They Were a Decadent Race”: Denazification, the Cold War, and (African) American Involvement in Postwar West German Musical Life
    2. 8. Breaking with the Past: Race, Gender, and Opera after 1945
    3. 9. Singing in the Promised Land: Black Musicians in the German Democratic Republic
    4. Conclusion
  7. Notes
  8. Bibliography
  9. Index

Contents

Acknowledgments

Note on Translation

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 Music in 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 Lieder 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

Notes

Bibliography

Index

  1. Acknowledgments
  2. Note on Translation
  3. Introduction
  4. Part I: 1870–1914
    1. 1. How Beethoven Came to Black America: German Musical Universalism and Black Education after the Civil War
    2. 2. African American Intellectual and Musical Migration to the Kaiserreich
    3. 3. The Sonic Color Line Belts the World: Constructing Race and Music in Central Europe
  5. Part II: 1918–1945
    1. 4. Blackness and Classical Music in the Age of the Black Horror on the Rhine Campaign
    2. 5. Singing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Music in Interwar Central Europe
    3. 6. “A Negro Who Sings German Lieder Jeopardizes German Culture”: Black Musicians under the Shadow of Nazism
  6. Part III: 1945–1961
    1. 7. “And I Thought They Were a Decadent Race”: Denazification, the Cold War, and (African) American Involvement in Postwar West German Musical Life
    2. 8. Breaking with the Past: Race, Gender, and Opera after 1945
    3. 9. Singing in the Promised Land: Black Musicians in the German Democratic Republic
    4. Conclusion
  7. Notes
  8. Bibliography
  9. Index

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