The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist

Contents

• Contents: Introduction: The relationship of artist and society: historical perspectives
• Artist and society in the early 20th century
• Artist-operas as self-(re)presentation
• Precursors of the 20th-century artist-opera
• The artist-opera and politics
• Pfitzner, Palestrina, and the nonpolitical composer: The context of Palestrina
• Political conservatism c. World War I
• Conservative politics and art (1): Thomas Mann's Betrachtungen eines Unpolitischen
• Conservative politics and art (2): Pfitzner's aesthetics
• Conservatism in Palestrina
• The character of Palestrina as 'nonpolitical'
• The Council of Trent as 'political'
• Krenek spielt auf: Jonny, Jazz and the modern composer: The context of Jonny spielt auf: politics and culture in the Weimar Republic
• Americanism and politics
• Americanism, mass culture and jazz
• Krenek and the meaning of popular music
• The influence of Paul Bekker
• Artists and society in Jonny spielf auf
• Max's transformation
• Krenek and Jonny spielf auf
• Painting and politics in Hindemith's Mathis der Maler: The context of Mathis der Maler: Germany in the 1930s
• Aspects of national socialist ideology
• Hindemith's aesthetics
• Artist and society in Mathis der Maler
• Hindemith and the Third Reich
• Conclusion: artistic identity as performative
• Appendix
• Bibliography
• Index.