Composing the Party Line

This book examines the exercise of power in the Stalinist music world as well as the ways in which composers and ordinary people responded to it. It presents a comparative inquiry into the relationship between music and politics in the German Democratic Republic and Poland from the aftermath of World War II through Stalin's death in 1953, concluding with the slow process of de-Stalinization in the mid-to late-1950s. The author explores how the Communist parties in both countries expressed their attitudes to music of all kinds, and how composers, performers, and audiences cooperated with, resisted, and negotiated these suggestions and demands. Based on a deep analysis of the archival and contemporary published sources on state, party, and professional organizations concerned with musical life, Tompkins argues that music, as a significant part of cultural production in these countries, played a key role in instituting and maintaining the regimes of East Central Europe. As part of the Stalinist project to create and control a new socialist identity at the personal as well as collective level, the ruling parties in East Germany and Poland sought to saturate public space through the production of music. Politically effective ideas and symbols were introduced that furthered their attempts to, in the parlance of the day, "engineer the human soul." Music also helped the Communist parties establish legitimacy. Extensive state support for musical life encouraged musical elites and audiences to accept the dominant position and political missions of these regimes. Party leaders invested considerable resources in the attempt to create an authorized musical language that would secure and maintain hegemony over the cultural and wider social worlds. The responses of composers and audiences ran the gamut from enthusiasm to suspicion, but indifference was not an option.

David Tompkins teaches the history of modern Europe at Carleton College in Northfield, Minnesota. In addition to research interests in music and communism, he writes on the cultural history of Central Europe more broadly and is currently working on a project that looks at images of friends and enemies in the communist world. He lives in Minneapolis with his wife and daughter.

Foreword
Acknowledgment
Abbreviations
Introduction
Chapter One: The Rise and Decline of Socialist Realism in Music
Chapter Two: The Composers' Unions between Party Aims and Professional Autonomy
Chapter Three: The Struggle over Commissions
Chapter Four: The Music Festival as Pedagogical Experience
Chapter Five: The Concert Landscape
Conclusion
Bibliography
Index