200px| Poster of a 1938 exhibit in Düsseldorf Degenerate music (, ) was a label applied in the 1930s by the Nazi government in Germany to certain forms of music that it considered harmful or decadent. The Nazi government's concerns about degenerate music were a part of its larger and better-known campaign against degenerate art (). In both cases, the government attempted to isolate, discredit, discourage, or ban the works. Though the Nazis wanted to discredit Jewish artists because of their race, they also wanted to have a better reason. The excuse was that some music was "anti-German" and that was why some songs needed to be banned. The certainty of this philosophy was contrasted by the inability to say what counted as "anti-German". Many people, like Goebbels, could not point to what was German music and what had a "Jewish influence". Goebbels, who was not a musician nor had any expertise in the subject, said "all music was not suited for everyone"  The Nazis also regulated jazz, including the banning of solos and drum breaks, scat, "Negroid excesses in tempo" and "Jewishly gloomy lyrics".  Like degenerate art, examples of degenerate music were displayed in public exhibits in Germany beginning in 1938. One of the first of these was organized in Düsseldorf by Hans Severus Ziegler, at the time superintendent of the Weimar National Theatre , who explained in an opening speech that the decay of music was "due to the influence of Judaism and capitalism". Ziegler's exhibit was organized into seven sections, devoted to: The influence of Judaism Arnold Schoenberg Kurt Weill and Ernst Krenek Minor Bolsheviks (Franz Schreker, Alban Berg, Ernst Toch, etc.) Leo Kestenberg , director of musical education before 1933 Hindemith's operas and oratorios Igor Stravinsky References Bibliography  Further reading Dümling, Albrecht. 2002. "The Target of Racial Purity: The 'Degenerate Music' Exhibition in Düsseldorf, 1938". In Art, Culture, and Media Under the Third Reich, edited by Richard A. Etlin, 43–72. Chicago Series in Law and Society. Chicago: University of Chicago Press. . Haas, Michael. 2013. Forbidden Music: The Jewish Composers Banned by the Nazis. New Haven and London: Yale University Press. (cloth); (pbk). Levi, Erik. 1994. Music in the Third Reich. New York: St Martin's Press. (cloth); (pbk). Potter, Pamela M. 2006. "Music in the Third Reich: The Complex Task of 'Germanization' ". In The Arts in Nazi Germany: Continuity, Conformity, Change, edited by Jonathan Huener and Francis R. Nicosia, 85–110. New York and Oxford: Berghan Books. . External links Documentation Decca Degenerate Music series "Degenerate" Music in Nazi Germany " Degenerate" Musicat Guide to the Holocaust Database of " Degenerate " Music
 Poster of a 1938 exhibition in Düsseldorf Degenerate music (, ) was a label applied in the 1930s by the government of Nazi Germany to certain forms of music that it considered harmful or decadent. The Nazi government's concerns about degenerate music were a part of its larger and better-known campaign against degenerate art (). In both cases, the government attempted to isolate, discredit, discourage, or ban the works. Though the Nazis wanted to discredit Jewish artists because of their race, they also wanted to have a better reason. The excuse was that some music was "anti-German" and that was why some songs needed to be banned. The certainty of this philosophy was contrasted by the inability to say what counted as "anti-German". Many people, like Goebbels, could not point to what was German music and what had a "Jewish influence". Goebbels, who was not a musician nor had any expertise in the subject, said "all music was not suited for everyone" . The Nazis also regulated jazz, including the banning of solos and drum breaks, scat, "Negroid excesses in tempo" and "Jewishly gloomy lyrics". . Like degenerate art, examples of degenerate music were displayed in public exhibits in Germany beginning in 1938. One of the first of these was organized in Düsseldorf by Hans Severus Ziegler, at the time superintendent of the Deutsches Nationaltheater Weimar , who explained in an opening speech that the decay of music was "due to the influence of Judaism and capitalism". Ziegler's exhibit was organized into seven sections, devoted to: The influence of Judaism Arnold Schoenberg Kurt Weill and Ernst Krenek Minor Bolsheviks (Franz Schreker, Alban Berg, Ernst Toch, etc.) , director of musical education before 1933 Hindemith's operas and oratorios Igor Stravinsky References Sources Further reading Dümling, Albrecht. 2002. "The Target of Racial Purity: The 'Degenerate Music' Exhibition in Düsseldorf, 1938". In Art, Culture, and Media Under the Third Reich, edited by Richard A. Etlin, 43–72. Chicago Series in Law and Society. Chicago: University of Chicago Press. . Haas, Michael. 2013. Forbidden Music: The Jewish Composers Banned by the Nazis. New Haven and London: Yale University Press. (cloth); (pbk). Levi, Erik. 1994. Music in the Third Reich. New York: St Martin's Press. (cloth); (pbk). Potter, Pamela M. 2006. "Music in the Third Reich: The Complex Task of 'Germanization' ". In The Arts in Nazi Germany: Continuity, Conformity, Change, edited by Jonathan Huener and Francis R. Nicosia, 85–110. New York and Oxford: Berghan Books. . External links , , 1988 "Degenerate" Music in Nazi Germany " 'Degenerate' Music", A Teacher's Guide to The Holocaust, College of Education, University of South Florida Database of " degenerate " music composers, ebonyband.nl
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exhibition
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Nazi government in
government of Nazi
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Weimar National Theatre
Deutsches Nationaltheater Weimar
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Leo Kestenberg
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Documentation Decca Degenerate Music series
, , 1988
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Degenerate" Musicat Guide to the Holocaust
'Degenerate' Music", A Teacher's Guide to The Holocaust, College of Education, University of South Florida
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degenerate
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music composers, ebonyband.nl