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SoSe 18: Music and Human Rights in the United States since World War II

Jessica Gienow-Hecht

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This seminar constitutes the second part (Hauptseminar) of Module C (America in the World). While the first part (Seminar) is designed as a broad introduction to the period by looking at a general theme, the second part zooms in on a specific topic, offering students the opportunity to do in-depth reading, primary source research and write a paper. Both parts are scheduled back to back (Wed., 8:30-10am, 10-12pm). Students required to complete the full modul are encouraged to enrol in both courses simultaneously. Students wishing to compose a full research paper (Hausarbeit) at the end of the term are strongly encouraged to enrol in this seminar the second part (Hauptseminar) of Module C. Theme: Worldwide, the political leverage of symphonies has risen continually during the past 2 to decades. Since 1999, Daniel Barenboim has been trying to soothe the Israeli- Palestinian conflict with the East West Divan Orchestra. In 2003, the Iraqi National Orchestra performed in Washington hoping to win the hearts of American audiences. The United States has played a particularly visible role in this surge of musical diplomacy. In early 2008, the U.S. State Department financed Lorin Maazel and the New York Philharmonic’s tour to Pyongyang to play a potpourri of Wagner, Bizet, Dvorak, Bernstein and Gershwin in an effort to move forward the stalemated talks on trade and atomic weapons. “It does represent a shift in how they view us,” U.S. ambassador Christopher Hill stated at the time, “and it’s the sort of shift that can be helpful as we go forward in nuclear weapons negotiations.” While many of these endeavors focused on imagery, U.S. classical musicians have been exceptionally busy in more focused endeavors. That story is neither new nor much known. In the 20th and 21st centuries, classical music arguably has assumed a peculiar political influence and one closely linked to discourses on humanity, human rights and morality. Notably since the post-World War Two period, debates over political and public human rights gained importance in Europe and North America. An increasing cult of stardom and competition surrounding orchestras and conductors and the transition of the musical production scene from Europe to the United States contributed to a marked politicization of the art scene, but it was also informed by larger developments including cold war antagonism, postcolonialism and globalization. The United States and the Soviet Union/Russia along with some of their client states began using transmaritime musical highways for political ends far beyond the fall of the Berlin Wall, as observed above. Course Structure: This is a research-oriented learning course, designed to encourage students to explore a specific field and topic from an inquisitive, problem-oriented and critical perspective and to work practically, autonomously and creatively. It focuses on the historical nexus between classical music and international politics with a particular eye on the human rights discourse in the United States. Since World War Two, hundreds of artists have cited the “universalism” of music to lobby for international dialogue, justice, freedom and human rights. Which role has the U.S. classical music scene played in this scenario? Where do we look to find the origins of and explanation for this story? And what does it mean to us? To this end, we shall look at both state and non-state activities in the symphonic sector and read some of the most recent research pertaining to the politicization of music in the twentieth century, talk to musicians and embark on real-life archival fieldwork. For introductory reading, I recommend Danielle Fosler-Lussier, Music in America’s Cold War Diplomacy (Berkeley: University of California Press, 2015); Mark Bradley, The World Reimagined: Americans and Human Rights in the Twentieth Century (New York: Cambridge University Press, 2016). Requirements: Team leadership and research and discussion of primary sources (visual, text, sound); active class participation, preparation of reading & one question (in writing) per week to be posted on Blackboard. Optional for extra credit: full research paper (20-25pp.) due no later than August 25, 2018. close