| Abstract: | This article investigates the evolution of American and Sovietarts policy in Berlin between 1945 and 1947, with special attentionto the role of music. Music's political ambiguity, and its receptionas at once a uniquely German and international form of artisticexpression, made it an ideal medium through which Allied militaryofficials could project their country's aesthetic ideals andprogrammes for German cultural reform. If Berliners and theirSoviet occupiers largely agreed upon the importance of élitemusical tradition as an expression of national accomplishmentand the mark of a cultured society, American authorities tendedto treat music more as an entertaining, but non-essential diversion.Under the city' quadripartite military administration, it wasdifficult for any one occupation authority to pursue culturalobjectives that were aesthetically or politically more restrictivethan the others. Thus, superpower rivalry initially createdmore opportunities than limitations for Berlin artists. Americanofficers were compelled to consent to more lenient denazificationstandards for musicians than they had initially intended, whilethe Soviets permitted and even encouraged modernist musicalexperiments in their sector of occupation. In competition witheach other and seeking the loyalties of their German charges,the Allies encouraged Berlin to become a lively—and heavilysubsidized—city of the arts. |
