SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. Florian Gassner received his PhD in Germanic Studies from the University of British Columbia; followed by lectureship at Mount Allison University, postdoctoral fellowship at the New Europe College in Bucharest, and DAAD-Lektorat at the Donetsk National University. He is Associate Professor of Teaching at the University of British Columbia. DAVID ROBB is Senior Lecturer in Music at Queens University Belfast. SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. ROLF J. GOEBEL is Distinguished Professor of German, Emeritus, at the University of Alabama in Huntsville. WOLFGANG MARX is Associate Professor of Historical Musicology at University College Dublin. He is co-editor with Louise Duchesneau, of György Ligeti. Of Foreign Lands and Strange Sounds (Boydell Press, 2011) and with Nicole Grimes and Siobhán Donovan (eds), Rethinking Hanslick. Music, Formalism, and Expression(URP, 2013).

• ContentsIntroduction: Music and/as Politics in the German ContextMaria Euchner and Siobhán Donovan<1>Part I. Appropriations and MisappropriationsMartin Luther in Nineteenth-Century Music, Literature, and PoliticsFlorian GassnerThe 1848 Revolutionary Lyrics of Hoffmann von Fallersleben, Herwegh, and Freiligrath in the German Folk Song MovementDavid Robb"Der Kampf geht weiter": The Politics of Cover Versions in German Punk RockPeter BrandesSon of Kraut and an Old Herero? The Politics of German Pop Musical Memory around 1990Andrew Wright Hurley<1>Part II. The Political Gesamtkunstwerk: Opera and FilmDer Kaiser von Atlantis oder Die Tod-Verweigerung: Opera as Political DefianceMaria Euchner"Volk eilt herzu": Beethoven's Opera Fidelioin Dresden on October 7 and 8, 1989, and Its Ambivalent AfterlifeMoray McGowanSoundtracks of the Holocaust in East and West German Cinema: Jakob der Lügner (1974) and Hitler, ein Film aus Deutschland (1977)Matt Lawson<1> Part III. The Uses and Abuses of Music and PoliticsPolitical Ideology, Authentic Performance, and the Romantic Metaphysics of Music: The Case of the Pianist Elly NeyRolf J. GoebelThe Spirits of Utopia and of Disenchantment: Ernst Bloch, Hope, and Music in the Age of Post-TruthWolfgang MarxNotes on the Contributors

SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. Florian Gassner received his PhD in Germanic Studies from the University of British Columbia; followed by lectureship at Mount Allison University, postdoctoral fellowship at the New Europe College in Bucharest, and DAAD-Lektorat at the Donetsk National University. He is Associate Professor of Teaching at the University of British Columbia. DAVID ROBB is Senior Lecturer in Music at Queens University Belfast. SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. ROLF J. GOEBEL is Distinguished Professor of German, Emeritus, at the University of Alabama in Huntsville. WOLFGANG MARX is Associate Professor of Historical Musicology at University College Dublin. He is co-editor with Louise Duchesneau, of György Ligeti. Of Foreign Lands and Strange Sounds (Boydell Press, 2011) and with Nicole Grimes and Siobhán Donovan (eds), Rethinking Hanslick. Music, Formalism, and Expression(URP, 2013).

• ContentsIntroduction: Music and/as Politics in the German ContextMaria Euchner and Siobhán Donovan<1>Part I. Appropriations and MisappropriationsMartin Luther in Nineteenth-Century Music, Literature, and PoliticsFlorian GassnerThe 1848 Revolutionary Lyrics of Hoffmann von Fallersleben, Herwegh, and Freiligrath in the German Folk Song MovementDavid Robb"Der Kampf geht weiter": The Politics of Cover Versions in German Punk RockPeter BrandesSon of Kraut and an Old Herero? The Politics of German Pop Musical Memory around 1990Andrew Wright Hurley<1>Part II. The Political Gesamtkunstwerk: Opera and FilmDer Kaiser von Atlantis oder Die Tod-Verweigerung: Opera as Political DefianceMaria Euchner"Volk eilt herzu": Beethoven's Opera Fidelioin Dresden on October 7 and 8, 1989, and Its Ambivalent AfterlifeMoray McGowanSoundtracks of the Holocaust in East and West German Cinema: Jakob der Lügner (1974) and Hitler, ein Film aus Deutschland (1977)Matt Lawson<1> Part III. The Uses and Abuses of Music and PoliticsPolitical Ideology, Authentic Performance, and the Romantic Metaphysics of Music: The Case of the Pianist Elly NeyRolf J. GoebelThe Spirits of Utopia and of Disenchantment: Ernst Bloch, Hope, and Music in the Age of Post-TruthWolfgang MarxNotes on the Contributors

SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. Florian Gassner received his PhD in Germanic Studies from the University of British Columbia; followed by lectureship at Mount Allison University, postdoctoral fellowship at the New Europe College in Bucharest, and DAAD-Lektorat at the Donetsk National University. He is Associate Professor of Teaching at the University of British Columbia. DAVID ROBB is Senior Lecturer in Music at Queens University Belfast. SIOBHÁN DONOVAN is Lecturer in German Studies at University College Dublin. MARIA EUCHNER is a Faculty Fellow in the Foundation Year Program at the University of King's College in Halifax, Nova Scotia. ROLF J. GOEBEL is Distinguished Professor of German, Emeritus, at the University of Alabama in Huntsville. WOLFGANG MARX is Associate Professor of Historical Musicology at University College Dublin. He is co-editor with Louise Duchesneau, of György Ligeti. Of Foreign Lands and Strange Sounds (Boydell Press, 2011) and with Nicole Grimes and Siobhán Donovan (eds), Rethinking Hanslick. Music, Formalism, and Expression(URP, 2013).

• ContentsIntroduction: Music and/as Politics in the German ContextMaria Euchner and Siobhán Donovan<1>Part I. Appropriations and MisappropriationsMartin Luther in Nineteenth-Century Music, Literature, and PoliticsFlorian GassnerThe 1848 Revolutionary Lyrics of Hoffmann von Fallersleben, Herwegh, and Freiligrath in the German Folk Song MovementDavid Robb"Der Kampf geht weiter": The Politics of Cover Versions in German Punk RockPeter BrandesSon of Kraut and an Old Herero? The Politics of German Pop Musical Memory around 1990Andrew Wright Hurley<1>Part II. The Political Gesamtkunstwerk: Opera and FilmDer Kaiser von Atlantis oder Die Tod-Verweigerung: Opera as Political DefianceMaria Euchner"Volk eilt herzu": Beethoven's Opera Fidelioin Dresden on October 7 and 8, 1989, and Its Ambivalent AfterlifeMoray McGowanSoundtracks of the Holocaust in East and West German Cinema: Jakob der Lügner (1974) and Hitler, ein Film aus Deutschland (1977)Matt Lawson<1> Part III. The Uses and Abuses of Music and PoliticsPolitical Ideology, Authentic Performance, and the Romantic Metaphysics of Music: The Case of the Pianist Elly NeyRolf J. GoebelThe Spirits of Utopia and of Disenchantment: Ernst Bloch, Hope, and Music in the Age of Post-TruthWolfgang MarxNotes on the Contributors