Zugl.: Berlin, Techn. Universiẗat, Diss., 2004.

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Jerrold Pope, Florida State University, School of Music. Title and description from treatise home page (viewed 9-29-04). Document formatted into pages; contains 77 pages. Includes biographical sketch. Includes bibliographical references.

Diss.--Fribourg-en-Brisgau, 1999. / Bibliogr. p. 215-226.

Hanns Eisler routinely expressed his discontent with the state of music and society in the late 1920s in Die Rote Fahne—an organ of the Marxist revolutionary organization, the Spartakusbund, to which he often contributed. His 1928 essay “Man baut um,” among the most notable of these writings, declares that the high expenditures in art—such as the construction of a fourteen-million Mark opera house—to be the result of capitalist greed rather than a reflection of the desire for musical performances, as had been suggested. Although the cost of the new venue is the subject in this satirical passage, this contains a secondary accusation. With a grotesque sense of amusement, he suggests that schoolchildren are certainly content to go without breakfast because they understand the importance of the opera building. In doing so, he sheds light on the human consequences of material desires. Caustic accusations regarding various aspects of musical culture are a common occurrence in Eisler’s writings, particularly in the years surrounding his break with his teacher, Arnold Schoenberg—1924-1927. During this time, not only did Eisler become increasingly vocal in his printed critiques, but his ideologies became apparent in his compositional style as well. This thesis contends that two of his musical parodies between 1924 and 1927, Palmström (1924) and Zeitungsausschnitte (1925-1927) contain satirical criticisms of contemporary musical consumption and content, which are paralleled in his published prosaic critiques.

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In his essay, “Musik und Musikverständnis” (1927), Hanns Eisler (1898-1962) wrote that "the evaluation of a piece of music calls for the understanding of the elements of harmony, polyphony, and form," and that one who is not privy to this understanding will "be in the same situation as one who hears a speech in Chinese, without an understanding of Chinese.” Eisler maintained that music could be rendered intelligible through “a gradual rebuilding of musical culture.” This new musical culture, which he believed could only occur after the proletariat seized societal power from the bourgeoisie, would promote musical education and encourage the composition of intelligible music. Although Eisler had composed music for the proletariat throughout his career, the creation of the German Democratic Republic facilitated his participation in educating the proletariat in aspects of traditionally bourgeois culture. One key example of this was his composition Das Vorbild [The Example] (1952). This thesis presents the first detailed analysis of Das Vorbild and demonstrates it as representative of Eisler’s musical and societal aspirations—particularly concerning education. Analysis of the working manuscripts for Das Vorbild in conjunction with Eisler’s writings reveals a piece that embodies the utopist aspirations of this Marxist composer. In light of this analysis, I contend that Das Vorbild is representative of Eisler’s work toward a new musical culture within a socialist society.

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Abstract The main sources has been found recently of the works of the greats architects Max Tintner and Zikmund Kerekes, II. w.w. survivors, architects who extablished their lives after II. w.w. in Israel. Also new information has been occurred in reconnection with architect André Steiner who spent his life in Atlanta, USA. Archives materials about unknown work made by Otto Eisler was also found. The main intention of the PhD thesis is to collect those unsorted materials and information of mentioned architects and to create comparison of their architectural works.

Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.