By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Western Europe. This particular collection is identical to an earlier edition published in 1729 in Hamburg, Germany by an unknown German composer, Johann Christoph Schultze. This paper is the first modern critical edition of Schultze’s Six Sonate â Doi Flauti Traversi Senza Basso Con una Ciacconna tra mischiata di doi Canoni nella medesima nascosti (Six Sonatas for Two Flute without Basso and A Chaconne for Two Equal Voices in Canon) and marks the first time the Chaconne has appeared in modern notation. The edition aims to be as true as possible to the 1729 publication, notes standard performance practices, and answers the question as to why the 1750 edition may have been falsely attributed to Handel.

The subject of this dissertation is the work of the German writer, architect and Volkspädagoge Paul Schultze-Naumburg (1869-1949). His published work - 37 books, over 230 articles and countless lectures – ranging from art and architectural pedagogy, practice and criticism to cultural and racial theory, made him one of the most widely read German authors of the first half of the 20th century. Renowned during his lifetime, his racial and eugenic writing prompted his relegation in post-war German historiography, which ignored his impact and central position in the cultural and architectural landscape of German modernism. This dissertation examines Schultze-Naumburg as a specific cultural catalyst of radical nationalist and racist art and architectural history and theory, and traces his trajectory through Wilhelmine, Weimar and National Socialist Germany. Beyond the fine arts, Schultze-Naumburg helped formulate the conceptions of the anti-Semitic, pro Heimat and anti-urban, völkisch mind frame that would be transformed into the blood and soil rhetoric of the emerging National Socialist ideology. Schultze-Naumburg’s historical stature and socio-cultural prominence was recognized throughout his life, and history’s subsequent repression of his figure is based entirely on his ideas nefarious and fanatical potency and not on his erstwhile importance. Moving broadly chronologically, the first four chapters of the dissertation examine Schultze- Naumburg’s Wilhelmine work. After the introduction and literature review, Chapter II begins with an overview of his education and examines his landscape painting. Chapter III examines a sample of his prescriptive preservation writing composed for the Deutsche Bund Heimatschutz. The fourth examines his involvement in the Lebensreform movement and the Deutsche Werkbund, establishing his role in the Kunstgewerbe movement. Chapter V concentrates on the application of the Lebensreform ideal and Hermann Muthesius’ writing on Schultze-Naumburg’s design of the Cecilienhof (1913-1917) for the imperial Crown Prince. The sixth chapter traces the development of Schultze-Naumburg’s corporeal racial rhetoric from his Wilhelmine writing on women’s clothing reform to such radical polemics as Kunst und Rasse (1928), and its cumulation in National Socialist legislative policy, the Gesetz zur Verhütung des Erbkranken Nachwuchses (1933). Chapter VII considers the city of Weimar as the site of Schultze-Naumburg’s Volkspädagogik positing 1930 as turning point for both his career and the city itself.