KYLE FRACKMAN is Associate Professor of German & Scandinavian Studies at the University of British Columbia. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City.

• Introduction: Music and Heritage in the German Democratic RepublicProvincialism, Modernity, and the Classical Heritage: The Administrative Structure of the GDR and the Situation of Music ProductionClassicism as Anti-Fascist Heritage: Realism and Myth in Ernst Hermann Meyer's Mansfelder Oratorium (1950)Positioning Georg Knepler in the Musicological Discourse of the GDREhrt euren Deutschen Meister: Reproducing Wagner in the GDRThe Embodiment of Collective Memory in Neue OdysseeMarxism and Feminism in Ruth Berghaus's Staging of Don GiovanniBeyond the Gewandhaus: Mahler and the GDRHanns Eisler's Funeral and Cultures of Commemoration in the GDRExile-Remigration-Socialist Realism: The Role of Classical Music in the Works of Paul Dessau"What a Satisfying Task for a Composer!": Paul Dessau's Music for The German Story (.Du und mancher Kamerad)Friedrich Schenker and the Third WayA Prism of East German Music: Lothar VoigtländerNotes on the ContributorsIndex

In offering such a rich conversation about the intersections between East German art music, political engagement, and identity construction, this volume has much to offer, not only to music scholars, but also to scholars of aesthetics, Germanists, and historians.

KYLE FRACKMAN is Associate Professor of German & Scandinavian Studies at the University of British Columbia. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City.

• Introduction: Music and Heritage in the German Democratic RepublicProvincialism, Modernity, and the Classical Heritage: The Administrative Structure of the GDR and the Situation of Music ProductionClassicism as Anti-Fascist Heritage: Realism and Myth in Ernst Hermann Meyer's Mansfelder Oratorium (1950)Positioning Georg Knepler in the Musicological Discourse of the GDREhrt euren Deutschen Meister: Reproducing Wagner in the GDRThe Embodiment of Collective Memory in Neue OdysseeMarxism and Feminism in Ruth Berghaus's Staging of Don GiovanniBeyond the Gewandhaus: Mahler and the GDRHanns Eisler's Funeral and Cultures of Commemoration in the GDRExile-Remigration-Socialist Realism: The Role of Classical Music in the Works of Paul Dessau"What a Satisfying Task for a Composer!": Paul Dessau's Music for The German Story (.Du und mancher Kamerad)Friedrich Schenker and the Third WayA Prism of East German Music: Lothar VoigtländerNotes on the ContributorsIndex

In offering such a rich conversation about the intersections between East German art music, political engagement, and identity construction, this volume has much to offer, not only to music scholars, but also to scholars of aesthetics, Germanists, and historians.

KYLE FRACKMAN is Associate Professor of German & Scandinavian Studies at the University of British Columbia. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City.

• Introduction: Music and Heritage in the German Democratic RepublicProvincialism, Modernity, and the Classical Heritage: The Administrative Structure of the GDR and the Situation of Music ProductionClassicism as Anti-Fascist Heritage: Realism and Myth in Ernst Hermann Meyer's Mansfelder Oratorium (1950)Positioning Georg Knepler in the Musicological Discourse of the GDREhrt euren Deutschen Meister: Reproducing Wagner in the GDRThe Embodiment of Collective Memory in Neue OdysseeMarxism and Feminism in Ruth Berghaus's Staging of Don GiovanniBeyond the Gewandhaus: Mahler and the GDRHanns Eisler's Funeral and Cultures of Commemoration in the GDRExile-Remigration-Socialist Realism: The Role of Classical Music in the Works of Paul Dessau"What a Satisfying Task for a Composer!": Paul Dessau's Music for The German Story (.Du und mancher Kamerad)Friedrich Schenker and the Third WayA Prism of East German Music: Lothar VoigtländerNotes on the ContributorsIndex

In offering such a rich conversation about the intersections between East German art music, political engagement, and identity construction, this volume has much to offer, not only to music scholars, but also to scholars of aesthetics, Germanists, and historians.