| Kommentar |
- To provide a detailed understanding of how different types of musical productions – symphonic music, operatic music, chamber music, music hall songs, folk music, and church music – contributed to the British and German war efforts during the First World War, and how they fostered national identity in war-time societies
- To analyse the complex relationship between war, propaganda, music, and the state in a comparative context
- To introduce two new approaches to modern history, namely transnational history and comparative history, and how these methods enhance the capacity in studying the entanglements between countries
- To examine how politicians and the monarchies of both countries attempted to mobilise musical productions to support their war efforts, and to review the importance and effectiveness of propaganda and censorship
- To investigate the ways in which the First World War was essentially a clash of political, social, and musical cultures between these two countries
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| Literatur |
Selections from Roger Chickering, Imperial Germany and the Great War, 1914-1918; Adrian Gregory, The Last Great War: British Society and The First World War; Dominik Geppert and Robert Gerwarth (Eds.), Wilhelmine Germany and Edwardian Britain: Essays on Cultural Affinity; Glenn Watkins, Proof through the Night: Music and the Great War; Petra Rau, English Modernism, National Identity and the Germans, 1890-1950; Tobias Becker, David Linton and Len Platt (Eds.), Popular Musical Theatre in London and Berlin: 1890 to 1939; Sven Oliver Müller and Cornelius Torp (Eds.), Imperial Germany Revisited: Continuing Debates and New Perspectives; Matthew Stibbe, German Anglophobia and the Great War, 1914-1918; Jean-Louis Robert and Jay Winter (Eds.), Capital Cities at War: Paris, London, Berlin 1914-1919; and additional academic articles |
