The Builders of a New Music Culture 1931 ‘To define what is aew in music, with its many aspects, itis necessary to analyze the situation in music and above all ta examine it critically. The difficulties of such an examina tion are indeed great. The division of labor oa which the ‘capitalise mode of production is founded has led t0 9 peculiar division between specialise and amateur in art That indicates the difficulty of talking scientifically about tnusic, IF we want to discuss act in such a way that we nor only describe it, bus also obtain practical and useful results then it is essential ¢o introduce seientific methods, aot only into the production of art, but also into the conception of fact There is a particulae difficulty in introducing science ~ into the sphere of mute, which can only bedeseribed in explan~ tory terms that stem from musical vechnique and with ‘which the musical amateur may not be acquainted. TE we question the average bourgeois consumer of art today about his views on music we would get the following. answer: Music has existed from time immemorial and always will, Ie ie a phenomenon above society, which of “ourte, can also pactly be explained by social situations, but wich, however, assumes an independent character. Changes ‘a are styles ace explained by changes in taste. ‘Thece is @ cettain degree of perfection in music, existing independently tof maa, and which will ultimately assere itself, even if it has hae been observed by the people in general. For what is truly yeeat will assre itself at some time, If mankind were to disappeae the great values of music would still endure, dependently following vacie own inherent laws, outside of iad despite buman society. 6 This conception of music as a pheaomenon above society leads to the following aesthetic views: There is an imaginary harmony outside of society and independent of it, that the musical ideal whieh is o¢ is not achieved by the individ: hal and pacticular work of ast. The degree of perfect harmony achieved by the work of are can be determined. ‘The methods of determining act valucs are party technical and partly of a purely emotional mature. Yet chese are general methods and so they may be applied by everyone, ro mattee to what social class he belongs. ‘Those are the conceptions of music and of the value of ‘musical works which can generally be met with coday, with some minor vatiations, How have these opinions, deawe from musical practice, affected the practice of music and vice versa? Te aust be conficmed that these opinions have caused further confusion, for if applied eo one and the same work by various individuals, varying assessments ce- solt. Individual taste alone is the critesion, but cannot be substantiated either technically or ideologically. This wide- spead and etifl growing confusion shows that the methods in question ate almost no longer applicable. One of the most obvious signs of crisis in bourgeois music is ies anarchic dineacter, The changes in musical fashion are anarchic, the concert business is anarchic, even reactions to the crisis ia coneert life are anarchic. ‘The crisis in concert music has pacticulaely sharpened in the last few years and is perhaps fone of the more obyious focms of the threatening disaster, forecasting the teansition from ordered bourgcois smusical relations to a state of barbariom. ‘The mast plausible ex planation of the crisis in concert life isa social one. Through the disappropriation of the middle class due to inflation, and the increasing proletarianization of the broad petty hourgcoisie, the prewar level of education and also the level cof musical education which stabilized the practice of con- cert-aoing have been made impossible to sustain. The broad masses of the petty bourgeoisie, employees and even the middle class have become dependent upon a music that ”ceasily gratifies in a time of difficule end precarions economic conditions. We ourselves have all experienced the hreak- though of so-called light or cheesful music, formerly di counted as facing in seriousness. Even in such places of privilege as the concert hall or the opera hanse, the most facile musical pleasucej2z2-has broken ie possible to a high deacce to entertain the fistener in a most vital but noncommiteal way, since it males no demands fon hirn at all, Tt is not only in j222 that the function of pure pleasure, which we described as the function of bourreois music, heeomes a pore stimulant. The Weltanscbauzne (world outlook) as a meant of pleaturet, such a8 we find in the great era of bourgeois music, is dead. The fonction has become exclusively the provision of momentary stinmult ‘This is the only way in which the quickly changing musical fashions of the last Fifteen years can be exolained. The stimoli wear off very rapidly and so in the latest period ‘of bourgeois music, wheee the function has remained the same, thete has been a continuous need for new methods in ‘music. These do not arise from a general change in the function of music within society, but from the ucge for ting the same fonetion-entertainment. One lndeed and fifty years ago entertainment sell had 3 committed character, for instance, 2 herole character, but ow entertainment has become » noncommittal device for amusement. Tt serves to repraduce the Labor power in the capitalise meaning of the word. This process takes on bst- bharie forms, yee despite this, has a progzersive charactee for the dialectical materialist, “That sounds incomprehensible and so we must explain i in greater detail, “The development of music in he last fifteen years has eradicated once and for all the formerly stable bourgeois fart terms concerning the personality of the artist and the independence of the work of art. The alfembracing charac ragh Tae makes 4 Yu the dasial period plesaure was deived From a music which was based ow a pilesophy 8 ter of the bourgeois music business has been destroyed and finally removed. Oa the ruins of this music culcure room hhas been made for the strugale of the workers for a new ‘music eulture corresponding to their class situation whic, today, is alzeady beginning to take on a clear shape: ‘Music Practice and Music Consumption in Capitalism ‘The sharp contradiction between work and leisure peculiar to the capitalist mode of production divides all intellectnal activities into those serving work and those serving leisure Leisure, however, is a system for reproducing labor power. ‘The content of leisure must not he the content of work Leisure is dedicated to non-peoduction in the interests of production. This is the socio-economic basis for the peculiae Fora of musical practice in capitalism, Fiest I mutt give you a short outline of che attitude to ‘and the practice of music in feudal times in ordes to make clear the contrast between the musical methods of Feudalism and those of the bourgeoisie. In the eta of feudalism we find music in the following forms: music at the courts ag a privilege of the culing upper ciecles, music in che church as 4 means of iastcuction and edseation For the ruled clase, ‘music at work and in daily life in the Foren of work songs, love songs and so on. But that must not be divided rigidly At a certain point in the development of saciety, chutch ‘music takes over and adapts folk song, while court music tases the construction methods of church music, We must wow introduce a new term into our considerations and that is the tecm-the function of music. By that we mean che social purpose of music-making. Tn feudalism the function of music for the small privileged upper class was pleasuce ‘and entertainment, for the opptetsed classes it was ciplinary. Here again we muse be careful not to be in exible. Even the disciplinary funet c, for instance io nilicary musi, corties with ir aspects of pleasure, but for 39the privileged class pleasure was its aim; that is the decisive cocial sepect. For the Chorch Fathers music is only justified if i is compatible with Christian doctrines and enhances church secvices, In their judgments they are moved solely by prt jel considerations for the church of theie time. Art as an end in iwelf and aesthetic pleasure only is strictly con~ demned. I would like eo draw your attention to the last sentence, since it defines the whole content of present-day bourgeois attitudes to music, If the Church Fathers already opposed this attitude in early feudalism, ie indicates that even then social contradictions existed between the strata fof cown burghers and the lords of the manors. The Church Fathers arcived at this cadical attitude to the aesthetics of ‘music mainly in order to achieve a clear division between hutch and heathen music; in the Inter, cicomatics espe- cially were frowned upon as weakening and peenicious ele- sents, In feudalism music was only allowed if it was io the service of the church, and even there it hid a subordi rate role compared with the word. The Chucch Fathers concluded that: “Music is given to man By God to facilitate the learning of psalms.” The scasnous charm of musie could not be eliminated, but the church sought to make ic haemless by turning it into a handmaid of the church, and Isid great stcess only oa the word and on the frame of mind of the singers, but aot of the listeners. The foregoing quotation ‘was taken [rom Professor Abert's book Die Musikanceban ung des Mitelalters (The Approach to Music in the Middle Ages). Professor Abert further shows that every kind of melodious singing and evety ornamentation were strictly forbidden, “It is not scemly for the pious oor for the aged to embellish thoi singing or co bring forth cough tones, but they should praise God with restrained voice, so chat they do not arouse the impression of music-making, but rather that of sighing.” Apart from facilitating the learning of jpsalms andl sicengthening the emotional effect of the words, Imusic had also the function of evoking and intensifying a ” state of repentance in the conategation. These were peculiat ‘csthetice accruing from the point of view of ruling class interests which, when applied in practice, further stabilized feudal relations, The Church Father Hieronymus said, and you must agree thae this is a peculiae aesthetic views “No. Iatter how bad anyhody’s voice is, if his deeds are good, then before God he is an agreeable singer. Chist’s seevant should sing. Not the voice of che singer bue hie words should please.” Holy Augustus warns emphatically against 8 too sensuous sound, for then attention would be turned away from the word of God with the danger of commitcing a grievous sin. The practical Church Fathees watn all their singers that theis disposition and theieconduce must enaform to the content of what they sing, otherwise theie singing be valueless to themselves and also to the congregation, ‘Music production in early feudalism, tao, had peculiar pre- requisites. Music is not a matter of abiliey resulting from talent, but presents itself asa sum of tenets which anyone can and must acquice. Finally, there is also the peactical attitude of the composer himself which is in marked con- trast to the bourgeois idea of aa artist, Johannes Cottonius, a theoretician, said: “The artist should always have ia mind the chacacteristies of the public whom he wishes to affect.” We can summarize the fuactions of church music, then, as follows: Music in the church is not directed towards the individual ot his individual are, but has the task of enakinz all participants adopt a certain telizious bearing. Thus, by allowing the listener to take part ia the music himself Later fon, by joining in the chorale, be takes part ia a kind of exercise and so is forced all the mote effectively and firmly into a particular bearing. Pleasure in music in this case is a subordinate ingredient. This form of music-making cot responded to the class interests of the lords of the manors, the feudal lords, and in practice made feudalism possible and stabilized it again and ggain, Arising ftom this social function a certain method of constructing tones arose, which I technique. we will simply call aus “‘The technique of composing in the Middle Ages was the following: ‘The presentation of musical ideas was poly phonic. Pre-cassical polyphony knows of no contrasts, ether in the tempo ot in the formal arrangement. One of the specific Features of this technique is the lack of variation, that is of the variation of a subject, which makes possible its thematic development. ‘The musieal subject is noe changed by division, by repetition or by driving it forward. not developed as in the classical music of the nineteenth century. ‘The musical development is accomplished through additions in the other voiees. This, generally speaking, is the essence of polyphonic presentation, for a canon, or imitation, is no more than bringing development into a static musical idea by singing or playing it at different levels, at different pitches aad ae different times. ‘The Instrumentation is not instrumentation in a hour peois sense. It is pure construction of parts without coloe ‘nd without effects, ‘The rendition is cattied out with a cestain uaiform tone. Ceescend and decrescendi are missing. ‘There is a lack of modulation. We can see from this how 4 certain social situation leads to a cettain musical tech nique which, in ean, whea applied in practice makes this particular cocial situation possible. ‘The bourgeoisie, still in the tap of feudalism, is in op- position t the feudal methadls of production, Now Firs: 1 rust explain this social eonteadiction in the eeanomic sphere, so that we can make it clear in such a difficule domain as ‘music. One of these contradictions was that between man facture and ground rent. ‘The profit from feudal ground rent springs from a peculiae social steuctute, that of seefdom, But what are the historical prerequisives for the existence ‘of capital? Ag Marx wrote: “The istorical prerequisites for the coming into being of capital are fist the accumula sion of a certain sum of money in the hands of individual peetsons when, on the whole, there is a relatively high standard of commodity production and secondly the ex- intence of ‘ree’ workers in a twofold sence,” that is free of a all restictions or limitations in the sale of his labor power, and free of landed property and of the means of production altogether, As Marx ironically calls him, a worker "free asa bird "* ‘This economic contradiction leads to a political secugale sinst serfdom. Ft leads to the of the youne hourgeaisie discovery of human rights Another economic contradiction under feudalism, for ex- ample, was the one berwcen free trade and the feudal privilege over landed pronetty. In this connection T would like to allude to an early article by Kautsky!-from the good time of his youth-today he is greatly changed. Tt concerns the teanspore of a cask of wine feo Amiens to Paris to be traded. For instance, this cask of wine costs the sum of Amiens. In Paris, however, it costs 0 francs, for the cart carrying the cask of wine has to pass alone many roads over which the feudal lords had so-called toll rights. The fendal loed could, without capital investment, make a profie through te inherited privilege of his clase, merely by exzeting 2 coll on the roads. In feodal opinion these privileges were ordained by God, Opposed «0 them was the idea of liberty which the young men of enterprise hacl, This economie ides of freedom also cortesponds to a political concention of freedom as expressed in che rights ‘of man ia the French Revolution: the purpose of every social order is the maintenance of the thrce natweal and unwritten Iuoan eights, These three sights are freedom, property and security, and resistance to tyeanay. Here we have a classic example of haw economic interests take on pofitical forms and how political forms finally take on an inflexible characte in Weltanschaunng. "These general theo- ries are only general insofar as they mak possible in general the capitalise mode of production, but how were they applied ia practice? The tight to resistance against tyranny was dropped very soon. Only the tight t property wae 20 fronce This sa lay on words socaning “oulawed 4“retained and that meant private property in the bourgeois Sense. Today as well that isin 1931, this ceanomic idea of freedom of the inen of enterprise sill coreesponds to a politcal conception of freedom ax found, for instance, in the Weimar Constitution. There it saye, for example: “The ) divelling of every German is a refuge and is inviolable.” However, we fave to add that one must fire have and | tay for a daelling, co that it en be a refuge and inviolable, and chat one may not have committed any political offence to be presented with a howe search waerant. Then i€ says futher ip the Weimar Constitution: “Every German has the right to acquire a plot of land,” whereby I must add that 99 percent of the German people are hardly in a posi tion to make vse of hie pecliar right, since the small change neccesary to exercise this cight is lacking. This conception of freedom, dictated by economic interests and applied in practice, again makes possible cezaia economic relations. It is also the basi of bourgeois ace production, fart peuctice and thus, of course, of bourgeois music. The secat mosical seugoles under feudalism started under the banner of the “struggle for true musi,” reflecting the Flerce struggle of the bourgeoisie against feudalism. At the begin, ning of this stugale the bourgcisie is ia diect opposition fo the church and thus also eo the feudal function of, tnusie, The feudal function of music made possible the" focial purpose of evoking and intensifying in the congse- {state of repentance, but the new function ia | Bourgeois socey ix that of allowing a haxwonions develop: | “neat of the individual peesouality and is dicecly opposed fo the feudal function To describe: boutgcois music as graphically as posible, we must say that the cen “commodity” which is indeed the decisive factor in capitalism, has spread into the realm of music. The concert form signifies the introduction of commodity telaions into music. Concert tcker-buying, the sale of sheet music the team music specialis-the producers ‘OF music commodites-ace all chaeacerstic of this, “4 The classical concert music of the bourgeoisie is simed at the buyer of music commodities and endeavors to entertain him. Ie is clear that in a social situation proclaim ing itself to be the proof of the freedom of the individual, that is, the freedom of the entrepreneur and the free play of economic forces, there is no longer any natural fonction for music as it existed under feudalism. Yee this concett form, apparently in gross contcadiction to the feudal privilege of cntertainment music, proves on closer examination co be merely a mote democratic Form of the privilege of property. For while a chuech voneert could plainly be heard by the feudal listeners, in the concert form of the boucgeoisic 3 peculiae prerequisite for the enjoyment of music appeacs on the scene, It is che condition of education and elementary musical education. For bourgeois music is not universal music either, but likewise the art of a ruling class.\ The bigger the contrast between bourgeoisie and proletariat becomes, the bigger the distinetive contrast in music be- ‘comes, and this t0 its full extent only under capitalism. “This contrast is commonly characterized as the difference between easy and difficult music. It is also claimed thar there is sexious and non-terious music, or serious and light music. But all these labels cannot hide the fact thae this ‘contradiction has arisen fcom a social contradiction. Church music, once the standard-bearer of the whole of musical development, is being pushed into the background, Te is rno longer the eocially decisive factor. ts techaical develop- iment is drawn from concert music and thus also changes its feudal function, ‘The burgher is also a churchgoer, for he has long since buried the hatchet against the church, and now makes se of church ideology against che woeking class, in the same way 5 feudalism once used it against the bourgeoisie, This bourgeois function of pleasure, of the harmonious development and upholding of the individ ual personality, led to the great development of homo- phonic music in the nineteenth century. The early revolt tionary individual is reflected in the beginnings of his 4s f Rxbourgeois music development, which we mast place at about the idle of the eighteenth century with the Mona fcim School. The great heights of bourgoois musie weee ‘eached in Beethoven's syaphonics in which the please wor refunetioned to become @ kind of philosophical worid fudook. While at revoleionary periods revolutionary bourgiois mac rtlects the great tevolutionsty individual infix acta] xrvggle agsnst feudalism, by the middle of the niacteeth cestury it also eelect che disappointed, opere-preseeving petty bourgeviie. The gieat emotions became poorer, petty, they became sore intimate, The deine ofthe bourgeois cls, ite miltont attitude towasds the sisng proletariat made pleasure becoaie more and more af an snd in isiclf, mote and more problematic and de~ based. Contemporary bourgcoix ais ia proaincnt pos sions in the end became wildly egoccutic as a matter of course, only producing commodives for a saall lite and in extceme cases for the production ofa commodity ony. “This peclia function vf bourgcois music courespouls to 4 peculia: technique of compositio-homophong. itis the ance of presenting the rsiel ideas of bourgeois casi cal music, Ie is buile othe principle of contest Hest and foremost This peiciple guarantees to high Gegtee vatity and emecsinment, the development of birmony and its theoraical detivations make posible eset more new methods of contcoe. Finally, contrast also gostantecd by the technique of instrumentation, whic introduce snbee 25 2 musical moaus of presentation, The rendering becomes alive, subtle gradations of crescendi and docresendi ae discovered, This style is appropriate, as. no ole, for appealing to the individual expericuce ad 1 the indi vidual imagination ‘re lsteace fs not forced to take a pre determined sieade but on attonpe is made 19 excie hi, {co eatecain him and to esate ssscitions fo hi. This process of development is co be found in all other arts Te is alto to be found in science, The best example of 2 similae development, lke that of church music to 6 concect music, is the development of the scholastic philos- ‘ophy of the Middle Ages to the Bacyelopedists of the eighteenth century and modern bourgeois philosophy. In bourgeois music ae the beginning of the nineceeath century there was still sowething of an all-embracing attitude, sort of musical world outlook, yee at the end of ehe aie. tench century the acute crisis in bourgeois music coincided with che begianings of the crisis in capiealism, The extzaor- dlinary sharpness of this crisis was prophesied and describ- ced by Macx eighty years ago, as a ecisis of all nations, and, that is what we ace experiencing voday. In order to depict the anarchy in bourgeois music we must aiake clear the different tends, which in addition, are engaged in bittee combat with exch other. ‘The sight wing fof the music movement in Germany, coughly represented by the periodical Zeisschri/e fir Must in Leipzig founded by Robert Schumann, represents the period from Wagner to Richard Strauss. They are the last, sather weak fighters for the alisembracing character of bourgeois music, which is practically finshed, They oppose Gebrauchomusil?, they are for soul-scaring and soul-earichment of the individual, {or symphonies with a world outlook and for symphoaic ppocms. They reject the cechaical progeess of the lefe wing aand believe that the values uf a certain short historical epoch are eternal. Politically they also yeara for a more powecful, imperialist prewar Germany, possibly under che leadership of the Holenzollems, ‘They are in favor of concerts; they would like to revive the musical siteation of 1880-1914. ‘The purely professional level of this sight wing is very low. In the main they have antiquated notions concerning music and have no ties with the broader petty bourgeois masses. This Inst position, despite the actual crisis, presents the illusion of a stable musical situation, It is a parody of the attitude of bourgeois music at the end of the nincteenth century which, afterall, was still produc- tive. One of their most able thinkees, Heinsich Schenker’, hhas even gone into opposition, because he only approves of ”music up to Schubeet. ‘To peove how political this right wing is on questions of music (60 not only we cursed dia lectical materialists ate so confoundedly political) 1 quote from Schenker’s book Newe musikalische Theorien (New ‘Musical Theories): “The world war ended with Germany vunconguered in the field, but betrayed by the democratic parties, the parties of the mediocre and worse, of the unbridled individualism of semilicecates and illitecates, of incompetency to synthesize, of know-all and really knowing nothing, of izeesponsible doctrinairism and of bloodthirsty expecistentation, combined with tecror, mass mucder, for gery, lies about the people, idolizing and imitasing the Wess tc, who have taken over from the hostile Western peoples the lie of theig form of freedom. ‘Thus the last bulwark of the arstocratism has fallen and nature sees itself betcayed to democeacy-fundamentally and organically inimical co rstuce. For culture is selective, the profoundest synthesis tn the basis of the micaculous achievements of geniu ‘This sight wing, which of course contains diverse shades and opinioas, is conducting a hopeless struggle to maintain ‘and propagate bourgeois music of the nineteenth century. In principle, they oppose every innovation, ‘The center of the bourgeois music front is represented roughly by journals such as JMusitbldter des Anbruch, ot the music columos of dailies like the Frankfurter Zeitung of the Berliner Tageblart. Politically they correspond oughly t0 party groupings from the Deutsebe Staatspartei* 0 the Deutsche Volkspartes or the Zentrum Parte’. Tais ‘group, 100, sighs for che good old times, but is not blind co reality, Te sees the crisis and tries co combine in some measure teadition and progress. It is for Beethoven and school smusic, It is in favor of including the exotic, it might even approve Arnold Schdnberg, and ic ig also for che workers’ music movement ia a modified form. It expects everything to emanate from the creative power of individ sual geniuses and ehe high quality of their works. This group luas also adopted Schenker’s opinion that culture is selective, 48 the profoundest synthesis on the basis of the miraculous achievements of genius. But this group admits of develop- ment ond above all favors the riches of music, Tn the ‘opinion of representatives of this teend what is really good, will always find a place, and good madern music will jain it, What is good is simply good! The theoretical vanguard of this group do not ask themselves from where they take their values, nor do they ask about music's function in so. ciety. The left wing of the bourgeois music movement is the most interesting. Te is the most sensitive and quickest 19 react to reality. Tt is highly versatile, and is represented by the journal Metos, and by composers like Steavinsky and Hindemith. You could almost say, ie is the vanguard of bourgeois music in cotlapse, and technically the most pro- aressive wing. A composer like Arnold Schénbecg must also be counted among this group. This wing has shown aa extzomely Hively seaction to the ceisis in concert life, Since reality eradicated the musical fuaction of Weltanschayaune as a means of pleasure, this group went one step further. “hey said music should not reflect the world oatlook actually 2 progressive idea of the bourgeoisie-and discov- cred the terms Spietfronde? and Gebravchsrausit, Tn this way noncammitted amusement was counted a3 progress and became acceptable. Music should be a mere play on tones, not expressing any human feelings, A new victwosity ap- peared, 2 new spirituality, 2 new elegance and a new non: commiteal gaiety. Music must be so constructed to avoid expressing anything pathetic, banal or magnanimous. Ideally it should be refrigerated, should not stc the inner emotions fof the listeners. It is best of all, as Stravinsky ssid yeats ago, if ie runs like a sewing machine. Tn the last two years this Jefe wing hag executed huge eurnabout under the pressure of the acute crisis in Germany and has once again discovered the soul and a new lyricism, In Beelin Pant Hindemith, the avantgarde exponent of Spietfreude, cecently experienced the first performance of 4 maser, Reber ”io Daz Unouhirliche (The Unceasing). This ‘oratorio is a curious work, for it shows that in the seareh for new stimuli the bourgeoisie is returning to their world autlook at the time of their deepest crisis. In the search for new stimuli in a decadent period the world outlook is brought forward again. And so the citele of Schenker and the Newe Zeitsebnft fir Musth to Stravinsky, Hindemith and the Berliner Tageblatt has closed ranks to become one cont, But on the way to this united front of the bourgcoisie in music something got lost and was destroyed once and foe all. In the past the bourgeois artist reflected a full and whole personality. Ae the present time our music person aliies euch as Stravinsky and Hindemith are very undecided as to how they should compose, Almost every. work or yp of works is in a different style. The “modern Gouxgeote a7ist is tottering like the foundations of the bourgeois order. And so the latest achievement, the united front of bourgeois music is a tottering unity only ‘These thee grouns of whae i really the bie bourgeois music movement confront the folk masie moyement under the Ieadership of Jide? and che musical activities of the Social Democrats, Ia practice they are concerned mainly swith the culdivation of old church music and fclk songs. Te also fas real political motivations. T would tike to quote only ane sentence of Jécle's which has taken effect: “Turn youth away from polities through the revival of folk songs.” The reformist musfe activities of the Social Democrats are merely a fecble copy of the bourgenis-democeatic center recoup, They are advocates of concert music and Jode, of Stravinsky ond Richard Steauss. In fact, they advocate cverything. They think much will emerge from some kind fof mystic effect of music, The most significant advice of the consultant to the Ministry, Professor Kestenbers! that the worker must free him this reformist workers’ music movement there is a leit swing-an opposition formed by the revolutionary. workers. Recently, however, some of them have been expelled from x0 the big music organizations of the working class, for in- stance, from the DASB, the German Workers! Choral So- ery. ‘The reformists maintain that they were not expelled for political but for formal reasons, ‘The opposition was supposed to have violated a statute at some time, which provided the opportunity to theow the liveliest and most progressive sections of the workers’ music movement out of their own organizations. ‘What are the prospects for music, in which lass will fnew methods be created, which class will build a now relation between life and are, between practice and theory? Which class, due to its economic situation, has an urgent interest in a new function of music? A new music cannc? arise through material revolution, but only through social changes in which a new class takes power, and in which art also has # new social function. The application of scientific ‘methods gives an answer to this question, ‘The only class which needs new methods and for whom a change in the function of music is a vital necessity is the revolutionary proletacat, In the process of their struggle for power and for building socialism they will find new methods in the course of practice-some have already heen found. They already contain in embeyo the first bases of the methods for socialist music culture. Tn order fully co understand thi development 2 short outline of the history of the worke music movement is called for ‘The Workers’ Music Movement ‘The first stage of music-making among the workers is remarkable not for its “high” cultural level compaced) perhaps with that of the bourgeoisie, but for theie otigisal vse of music. Certainly, the form of the music societies was taken over feom the bourgeoisie, hut the Firse music asso- tations of working people show essential differences from bourgeois organizations. ‘Ihe sain difference is that the ” snfitst workers’ choral socictios which arose in Geimany roughly atound 1860-70 had a real political task. Ar the time of the illegal political stragsle unde the anti-socialise lows, they wate a cloak for political activity. Ie is indieative of the militant character of an apparently purely cultweal orgonization chat immediately after their foundation they were put under police surveillance and finally suppressed. That teaches us the classical attitude of the proletariat 10 culture, Under compulsion to reproduce Tabor power thoueh leisure-here through musical activity-these cultural ‘organizations ace immediately forced into the class situation of the workers and take on a militant chacacter. Precisely this makes it impossible for thea to confine chemseives ex: clusively to bourgeois Liedertofet literavare (glees), which aly depicts the relation of the individual to nature, lo Gemitiicbkeit, convivialty. The obligation to defend their organization entails attack which in cultural matters is agita- tion and propaganda; this finally leads eo che birth of a distinctive form of music, Tendentlied. ‘Workers were not yet it « pasition to be eultucally effec- tive themselves, due 40 their one-sided employment in the production process. At that cime they did aot establish a new musical direction, but they did introduce a new method. With regard to thelr musical materia, that is «0 soy from the bourgeois aesthetic standpoint, it was a style which was tegarded as old-fashioned and sidiculous by the more advanced cixcles of the hourgcoisie, If anyone had said in 1880 that these somewhar clumsy, blatantly red songs of the workess were the means by which they would possess the seat heritage of Sassical music, i ‘would have seemed utter rubbish even to the most discers- ing mind, Yet it is coctect, for history has tavght us thot every new musical style has not arisen from an aesthetically new poin of view aud thercfore does not represent a ma~ fon, but the change in the material is condi- terial revo tioned as a matter oF conese hy an historically necessary change ia the function of music in society as a whole 8 We must slso discover this ever-recutting peocess ia the beginnings of the workees’ musie movement. Only aestheti- cally dimmed eyes ard dialecticlly unsciooled heads can fail to appreciate these small signy of a change in fonction, ‘This change in function was of necessity small, since it was ‘conditional upon the distinctive situation of the class-can- scious workers at the end of che ninctcsath century, While ie was exceuting only propaganulistic exercises, while social pressure and unmitigated capitalism weee making the broad mastes ripe for Marxism, it stands to reason that art of the workers was not yet able to vellect progres: sive ideas. Av that time Tendenolense was an att which the clasi-conscions worker offered to the non-class-conscious ‘worker with the object of sticring both of them, of arousing class instinets and of drawing him inco che class secugale the Music and cext, therefore, had to appeal to the as-cla conscious worker and to che emotians of the individual and swece actually only the peelievinary to a planned propaganda Jn che seass between 1860 and 1914 & large number of sue works appeared in vocal iterance which, aeschetieally jndged, meant adopting the backward music style of the bourgeoisie. Today we know that this was an historical candition, since che education chat the bourgeoisie provides for the modeen industrial proletarian fits him only for exploitation, and artise calls a. profound appreciation of art, The musical material offered to both singers and listeners thus had to be quite simple and so constructed to guarantee a putely emotional effece in the listeners. In addition to this purely practical actstic activity of the workers we aust examine vyet another aspiration. Te is the old idea of national cducation which, when applied in the musical field, means the anisie of feudalism tind of the bourgeoisie to be esken over by the workers, Right from the begioning it was love's labor's lost for the cecanainie situation of the working class makes it impossible ls to equip him with what the bourgeois 0for them to take the same attitude to art as the bourgeoisie. This is the old classical mireake of every reformist action, which leads as a matter of course to compeomise aad which necessarily results in aesthetically valuable material being played off against politically valuable material, and whieh unknowingly, furthers the aims of the bourxeoisie. Ie is clear that we rust combat these retormist aspirations as well. However, the workers are not only threatened by this danger, they ate also threatened by che valear petty: bourgeois view of act, which infiltrates into the working class from sections of the bourgeoisie. We must remember that the operetta, the hit song, False and genuine folk songs are listened to by a large peopostion of all strata of society ‘and that the workers are faced here with just as big a danger as musical snobbism. The cultivation of classical music is correct if it ie uscd to liquidate light entertainment Imusic, The advantages of classical music aver entertainment music are clear, ia that q cercain demand is made of working-class listeners to be attentive, while entertainment music makes no such demand and rather pandets to laziness and comfort. Ie is important to counter this danger for working-class listeners by performing the great works of bourgeois music, Yee this advantage can quickly tucm into the most sevious disadvantage, if it results in cheir taking negative attitude cowards the revolutionary movement of Tenderemnusit. Tn order to faite the workers’ music movement 0 the level of thought in the political struggles, it is necessacy to criticize dhe Foxms of bourgeois mosic activities, and not to nse them unceitically aay longee. In addition the new socini juation of the workers should be analyzed. “The old Tendonzmusik had the task of winning the non- class-conscious worker through the class-conscious worker. But the present-day political situation is different. The broad masses of the workers have their orginizations, the ‘rade unions, the patties, cultural and sport associations. These bodies ate conducting a constant steuggle 10 dever- “4 mine the correct revolutionary position. The question of tactics has become the topics! question for the working class. Only when this question becomes superfluous, that is when the right tactics are adapted, will the revolution be Uwiumphant. Tendenckunss which sneshanivally copies the atitude of the workers’ music movement of 1880, even though it includes aesthetically progressive elements, is rcvertheless pointless and countcrrevolutionary. In the long rum i¢ will be retrogressive, because it ignores all the con- tuadictions in che working-class movement, Te surely cannot be the task of Tendenr:usik to stie the emotions of the militant workers aimlessly. This would not change the situation at all. This kind of music must be superseded by 2 revolutionary arc whose main character is militant and ‘educative, That involves thinking about the dialectical materialist method of thought and its results over the past cigty years; ic means chinking about the revolutionary experiences ofthe last rventy years Ta a society where the brond masses are indeed united in the necessity for class struggle, but disunited in how i should be conducted, by what methods and with what means, art for the first time can become the great cu:or of society. Are vill have to depice the theory and experi- ccaces of the class struggle in powerful images. The mais pur- pote of bourgeois act is pleasure. The working class bas centered one of the most complicated and difficute periods of its class hiscory; contendictions ace rife in its own ranks. Nevertheless, itis faced with the real task of taking power and ie again elects the ats as its great ally, che arts whose function is changing. Pleasure whieh was the main puepose becomes a means to an end. Art n0 longer sets out co satisfy the people's hunger for beauty, bur makes use af beauty to tench the individual, to make the ideas of the working clase and the actual problems of the class struggle comprehensible and attainable, Music no longer prostitutes its beauty, bot brings oder and discipline into the confused emotions of each individ- sswal, We can sce that a aew and great change will result in the function of art. Brought forth ss a teacher, as a ‘weapon in che most difficule situation in class history, art loses all thae the bourget calls “beautiful.” ‘The new Function of actin a classless society is alveady contained to 1 marked degree in its beginnings. ‘With regard to the new methods now practised in the workers’ music movement, I would like to remark: No recipe ean be given here. Tt is the tisk of the specialists and experts in the workers’ music movement to examine the material changes involved in the new functions of revolu- tionary art, At che same time the broad masses of the workers and theie officials must force their experts to undertake this analysis and to conteol and cxtically examine the cevults by applying them in practice Yo conclude I would like to say: Socialism means the centzy of reason in society. If we, and by we T mean the vanguard of the proletariat, the revolutionary workers, really want to take political power and not merely talk about it as a vague and distant hope, then we must prop- agate the practice of an are which takes its new methods from the daily struggles of the revolutionary workers. However, it should not only ceflece thei sufferings and cares, as the reformists and “social” artists believe it should, bat it must clarify tho eight methods for tasing power by the broad masses of che hungey and impoverished in Germany. Seveary years ago, in the ealy period of ca talism, when the German worker was sll in a state of destitution and without culture, one of the classical authors ‘of dialectical materialism, Frederick Engels, pronounced that precisely this weetched class of men and womea, living under barbacic conditions, would be the only class called ‘upon to take over the heritage of classical philosophy in Gecmany. ‘This sent all the professors af the day into fits fof laughter, And s0 I would also like «0 apply Engels’ prediction to music and maintain that the workers, and by that [ mean the Rohe miners here in Disseldorf, the metal 6 workers of Solingen, the chemical proletacians of Héchst, are the only class which will eagerly take over the heritage of great bourgeois music, after the downfall and decay of the music culture of the bourgeoisie, which we ate at pescut witnessing. Tcom this class will emerge the builders ff the new music cultuce of socialism, To the progressive bourgeois musicians let it be said that the new methods of music will only emerge in the daily struggle of the tevolusionary workers agniast the hhourgeoisie; and a new music culture will only atise alter the workers in Germany have taken power during the con- struction and completion of socialism. Source: Die Erbauor einer neuen Musitdouour in Hanns Bislet, Redem und Axfsitze, Winfried HOntsch, ed., Leip- vig, 196%, pp. 25-12. ‘This wat a lecture given by Eisler in Dasseldocf, Decem= bee 1931, where the workers’ choirs were ceheacsing the didactic play, The Measures Taken (Brecht/Bisles). ‘The Jectute was published ina slightly altered version with jslex’s agreement ‘The complete text in FGW II, pp. 140-65. 1 Karl Kautely (1854-1038), one of the theoret she German Social Democrats, turned away from Marxism and repudiated the iden of the diceaorship of the pro- Jetariat. He was ctiticived by Lenin for his counterrevolu- tionary opinions. 2 Gebrauchsmusike (otilty wnusie)-term used in the twenties ta denote music which was aot played purely in concerts but served specific use~music for theater or film, sodal occasions etc. 74 Heinrich Schenker, Nene musibatisebe Theorien und Phantasien, and vol., Viesna/Leipzig, 1922 4 Deutsche Staatsparted (German State Party), formed in 0 by important parts of the Dextsche Dermokratische Partei and reactionary groups. Almast wiped aue at 1952 elections. 5 Deutsche Votkspartei (German People’s Patty), bour geois party, 1918-33 (uppotted by heavy industry and Finance); 1920-21 and 1922-30 government patty; best: known leader Gustav Steesemana, 6 Zentrum Partei (Center Party), leading bourgeois Catho- lic party founded in 187 7 Spielfrende, Spietmusik-tecins allude to a certain type of music of the ewenties and thirties (Hindemith, Butting ete) which Bislet considered as too “playful” and “morozc.” 4 Feite Jéde (1887-1970), an issportant representative of the bourgeois musie movement among the youth in Ger ‘many. Despite his doubeless worchy efforts to keep alive the traditions of folk music and customs among the youth, hhe was attacked by the revolutionary working-class mrusi- cians For his pets bourgeois view of folk music snd his on-involvement in the social struggles of the time, 9 Leo Kestenberg (1882~1962), pianist and music teacher, ‘worked in the Peussian Minisery of Culture as adviser on music affnies 1919-323 supporter of a bourgeois-cemocratic, all-sound music education; forced co emigcave in 1933, 8 Our Revolutionary Music 1932 Mase, ike every other art bus > (lila cstein-pusposs Jn sosins. H-is.wsed_ by bourgeois socieny mainly as er reation, for the reproduction (re-creation) of Jabor power, new fanction of their music, which is 10 activate their members for struggle and ¢0 encourage political education. ‘This means that all music forms and techniques mast be developed to suit the express purpose, that is the class struggle, In practice chat will got result in what the boure geoisie calls style. A bourgeois composer with “style” will solve all his musical tasks in a similar way, so that bourgeois aesthetics they talk about an “aetstic personality. Ta the workers’ muse movement we do not aspire to “style” but to new methods of musieal technique, which will make it possible co use music in the class steuggle better and more intensively. ‘The best way of describing bourgeois music is by using the tetm “mood,” for it signifies thar bourgeois music wants t9 “entertain” the listener, The task of workers’ music ‘ill be to remove the sentimentality and pompousness from music, since these tensations divert us from the class stcuggle "The most important sequisite of revolutionary music is to divide it into music for practical performance: songs of steuggle, satitieal songs and s0 09, and music to be listened to; didactic plays, choral montage and choral pieces with a theoretical content. ‘The first requirement the class struggle places on the 39