- Copyright Page
- Tables, Charts, and Music Examples
- The Art of Listening and Its Histories: An Introduction
- Researching Audience Behaviors in Nineteenth-Century Paris: Who Cares if You Listen?
- The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth Century
- The Problem of Eclectic Listening in French and German Concerts, 1860–1910
- The Crisis of Listening in Interwar Germany
- Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World War
- Turning <i>Liebhaber</i> into <i>Kenner</i>: Forkel’s Lectures on the Art of Listening, ca. 1780–1785
- Designated Attention: The Transformation of Music Announcements in Leipzig’s Concert Life, 1781–1850
- Concert Listening the British Way?: Program Notes and Victorian Culture
- “What Ought to be Heard”: Touristic Listening and the Guided Ear
- Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830
- Amateurs and Auditors: Listening to the British Musical Festival, 1810–1835
- The Intimate Art of Listening: Music in the Private Sphere During the Nineteenth Century
- Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe ca. 1900
- Music in the Air—Listening in the Streets: Popular Music and Urban Listening Habits in Berlin ca. 1900
- The Opera-Telephone in Munich: A Short History
- First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth Century
- Experiencing High Fidelity: Sound Reproduction and the Politics of Music Listening in the Twentieth Century
- Capturing the Landscape Within: On Writing the History of Experience
- Listening and Possessing
- Is Listening to Music an Art in Itself—or Not?
- “Everybody in the Concert Hall should be Devoted Entirely to the Music”: On the Actuality of Not Listening to Music in Symphonic Concerts
Abstract and Keywords
Why, and how, did Germans listen to symphonic music during the Second World War? This chapter focuses on wartime Munich, where there was a strong increase in performances owing to expanded demand by listeners. Most work on concert-hall life in this period echoes clichéd claims regarding the relation between culture and barbarism; this chapter seeks instead to explore the everydayness of the practice, which embodied a social habit that remained fundamentally unchanged from before the war and continued unchanged after it. One might speak in this context of the “regime of listening” that governed behavioral norms in the Western concert hall more generally. In this sense, the chapter argues that it is easier to make sense of how and why Germans listened to music during the war if we worry less about their nationality and concentrate more on the connection of this phenomenon to sensory cultures in the period more broadly.
Neil Gregor, University of Southampton
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