Nicholas Attfield is Associate Professor in Music at the University of Birmingham. He is author of Challenging the Modern: Conservative Revolution in German Music, 1918–1933 (Oxford/British Academy, 2017) and editor (with Ben Winters) of the volume Music, Modern Culture, and the Critical Ear (Routledge, 2017). Ben Earle is Associate Professor and Head of the Department of Music at the University of Birmingham. He is author of Luigi Dallapiccola and Musical Modernism in Fascist Italy (Cambridge, 2013), and a variety of journal articles, reviews and book chapters.

• Introduction Nicholas Attfield and Ben Earle; Part I. Frameworks: 1. Music as propaganda Ben Earle; 2. Music institutions in the Italian fascist and German Nazi regimes Davide Ceriani; 3. Musical exchange and soft power Emily Richmond Pollock; 4. Music and mass media Danielle Simon; 5. Censorship in the arts in Germany and Italy Pamela M. Potter; Part II. Case Studies: 6. Music, racism and genocide in occupied Warsaw J. Mackenzie Pierce; 7. Three times fascist? Music and fascism in Austria Nicholas Attfield; 8. Music and fascism in the first years of Salazar's and Franco's dictatorships Igor Contreras Zubillaga and Manuel Deniz Silva; 9. Music under fascism in Greece Katerina Levidou; 10. Facism and music in Japan Jonathan Service; 11. Sound sentinels: genealogies of facism in South African music Stephanus Muller; 12. Four French wartime portraits Nigel Simeone; 13. Anti-fascist musical aesthetics Florian Scheding; Epilogue: music and right-wing extremism today Nancy S. Love.

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Nicholas Attfield is Associate Professor in Music at the University of Birmingham. He is author of Challenging the Modern: Conservative Revolution in German Music, 1918–1933 (Oxford/British Academy, 2017) and editor (with Ben Winters) of the volume Music, Modern Culture, and the Critical Ear (Routledge, 2017). Ben Earle is Associate Professor and Head of the Department of Music at the University of Birmingham. He is author of Luigi Dallapiccola and Musical Modernism in Fascist Italy (Cambridge, 2013), and a variety of journal articles, reviews and book chapters.

• Introduction Nicholas Attfield and Ben Earle; Part I. Frameworks: 1. Music as propaganda Ben Earle; 2. Music institutions in the Italian fascist and German Nazi regimes Davide Ceriani; 3. Musical exchange and soft power Emily Richmond Pollock; 4. Music and mass media Danielle Simon; 5. Censorship in the arts in Germany and Italy Pamela M. Potter; Part II. Case Studies: 6. Music, racism and genocide in occupied Warsaw J. Mackenzie Pierce; 7. Three times fascist? Music and fascism in Austria Nicholas Attfield; 8. Music and fascism in the first years of Salazar's and Franco's dictatorships Igor Contreras Zubillaga and Manuel Deniz Silva; 9. Music under fascism in Greece Katerina Levidou; 10. Facism and music in Japan Jonathan Service; 11. Sound sentinels: genealogies of facism in South African music Stephanus Muller; 12. Four French wartime portraits Nigel Simeone; 13. Anti-fascist musical aesthetics Florian Scheding; Epilogue: music and right-wing extremism today Nancy S. Love.

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Nicholas Attfield is Associate Professor in Music at the University of Birmingham. He is author of Challenging the Modern: Conservative Revolution in German Music, 1918–1933 (Oxford/British Academy, 2017) and editor (with Ben Winters) of the volume Music, Modern Culture, and the Critical Ear (Routledge, 2017). Ben Earle is Associate Professor and Head of the Department of Music at the University of Birmingham. He is author of Luigi Dallapiccola and Musical Modernism in Fascist Italy (Cambridge, 2013), and a variety of journal articles, reviews and book chapters.

• Introduction Nicholas Attfield and Ben Earle; Part I. Frameworks: 1. Music as propaganda Ben Earle; 2. Music institutions in the Italian fascist and German Nazi regimes Davide Ceriani; 3. Musical exchange and soft power Emily Richmond Pollock; 4. Music and mass media Danielle Simon; 5. Censorship in the arts in Germany and Italy Pamela M. Potter; Part II. Case Studies: 6. Music, racism and genocide in occupied Warsaw J. Mackenzie Pierce; 7. Three times fascist? Music and fascism in Austria Nicholas Attfield; 8. Music and fascism in the first years of Salazar's and Franco's dictatorships Igor Contreras Zubillaga and Manuel Deniz Silva; 9. Music under fascism in Greece Katerina Levidou; 10. Facism and music in Japan Jonathan Service; 11. Sound sentinels: genealogies of facism in South African music Stephanus Muller; 12. Four French wartime portraits Nigel Simeone; 13. Anti-fascist musical aesthetics Florian Scheding; Epilogue: music and right-wing extremism today Nancy S. Love.

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