Control Of Music In Nazi Germany

The scope of this report is to analyze the control and use of music by the Nazi party from 1933 to 1945. The first point to be considered is the motive and logic behind the control of music in the Third Reich. The second subject to be discussed is the various ways in which the Nazi party controlled and used music. Finally, we will analyze the effectiveness of the control of music in Nazi Germany.

Why was music controlled and used by the Nazi Party?
To answer this question, we must first look at the significance of music in Germany’s cultural history. Many of the great composers were German; Mozart, Bach, Beethoven, Haydn, Schubert and Wagner to name a few. This lead to the belief that music was ‘the most German of all the arts’. The internationally
Following a flurry of organising, planning, and policy-making, the Nazi party began to take control immediately after Hitler was proclaimed Chancellor in January 1933. It began with the disruption of performances by Jewish artists. In March 1933, the newly appointed Josef Goebbels took control of all German radio stations and press, firing all critics and editors who disagreed with his agenda. In April 1933, the law for the Re-establishment of the Civil Service was passed, the result of which was the widespread dismissal of Jewish singers, conductors, and music teachers.
The Reichsmusikkammer, or Reich Music Chamber (RMK) was initiated in November 1933, consolidating existing music unions and organizations. While many musicians welcomed a centralized music organization, membership was only given on proof of Aryan descent, effectively excluding Jews from the German music world. Being denied membership to the RMK was equivalent to a ban on a musician’s career. The Nuremburg Laws of 1935 reinforced this, making it illegal for even half Jews to perform or compose. Arnold Schoenberg was one of the more famous degenerate composers forced to leave Germany in
Propaganda minister Josef Goebbels and Nazi ideologue Alfred Rosenberg were more focused on education, media, and the visual arts. At the largest musical gathering held by the Nazis, the 1938 Reichsmusiktage, Goebbels was remarkably vague in specifying Nazi music goals. Although some loose guidelines were put in place, the definition of ‘degenerate’ music continued to change through the lifespan of the regime. One reason for this failure to establish concrete musical standards was the continuing in-fighting between officials responsible for music regulation. After the head of culture, Alfred Rosenberg, was passed over by Goebbels with the newly formed ministry of propaganda, Rosenberg tried to undermine Goebbels at the expense of prominent musicians, such as Paul Hindemith. Hindemith was lined up by Goebbels as the new model composer of the regime, until Rosenberg labelled some of his earlier work ‘degenerate’ in order to undermine Goebbels decisions. This was a common result of Hitler’s leadership style, which involved maintaining his superiority over his subordinates by allowing them to fight and squabble with one