Music of Nazi Propaganda:

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Presentation transcript:

Music of Nazi Propaganda: A Pedagogical Analysis of Musical Applications for Influential Power Renee Banks

Introduction The Nazi Party: Nazi media and music: Founded in 1919 and led by Adolf Hitler (1889-1945) Promoted German pride and anti-Semitism Used newspapers, magazines, books, public meetings, and rallies, art, music, movies, and radio Nazi media and music: Controlled musical outlets in order to spread message Used visual words and musical elements to present as pleasing to the audience

Purpose and Problems

Purpose With the intent of improving music pedagogy, the purpose of this research is to examine how the Nazi party used music as a tool to promote their propaganda. I studied how the Nazi party used music as a tool to promote their propaganda. Problems:

Problems to analyze how music can emotionally impact people in order to influence perceptions to examine musical techniques used to have an emotional influence to construct a lesson plan with the objective of exploring how music influences perceptions I studied how the Nazi party used music as a tool to promote their propaganda. Problems:

Problem 1: To analyze how music can emotionally impact people in order to influence perceptions

Visual Words: Influencing, Persuading, Manipulating Influence: the capacity to have an effect on the character, development, or behavior of someone or something, or the effect itself Persuasion: the act of causing (someone) to do something through reasoning or argument Manipulation: control or influence (a person or situation) cleverly, unfairly, or unscrupulously

Influencing Perceptions: Visual Words Horst Wessel Lied: Flag high, ranks closed, The S.A. marches with silent solid steps. Comrades shot by the red front and reaction march in spirit with us in our ranks.

Influencing Perceptions: Visual Words Horst Wessel Lied: Flag high, ranks closed, The S.A. marches with silent solid steps. Comrades shot by the red front and reaction march in spirit with us in our ranks.

To examine how timbre is used impact an audience emotionally Problem 2: To examine how timbre is used impact an audience emotionally

It’s All About the Timbre Jourdain defined timbre as “the uneven mix of the overtones in a note during the rise, middle and decay” (p. 1) Nazi Party used: Marches Anthems Shows Hitler loved to put on a show!

Problem 3: To construct a lesson plan with the objective of exploring how music influences perceptions

How did the Music Make You Feel? Content Outline: Understand what constitutes propaganda What are the pros/cons of propaganda? Where were/can propaganda advertisements seen? Understand how music is capable of spread propaganda How can music influence my emotions? (Happiness, sadness, excitement) Experiment with exercising propaganda music How can a song be created to influence someone else to do something that I want them to do?

How did the Music Make You Feel? Opening: 15 minutes Discuss with students which quotes from song lyrics, billboards, or commercials (attached) are propaganda and ask them the following questions: 20 minutes Who does this benefit? Why did they do that? According to whom? Have students listen and comment on how different musical techniques make them feel. If needed, musical examples are attached: 20 minutes Closure: 15 minutes

Conclusion Music is more than notes and rhythms: Emotions are influenced by: Timbre Dynamics Tempo Acoustics Words mean more than sounds: Words can influence a person to make a decision Words spread like wild flowers

Implications for the Future deciphering between fact and the alteration of such understanding the language used to affect fact, opinions, and perceptions to avoid a similar incident that led to the brainwashing of a large group of individuals which negatively affected others

Works Cited Baumgartner, T. et al. (2006) The emotional power of music: how music enhances the feeling of affective pictures. Brain Res. 1075, 151–164 Fackler, G. (n.d.). Music and the Holocaust. Retrieved September 29, 2016, from http://holocaustmusic.ort.org/politics-and-propaganda/third-reich/music-hitler-youth/ Kamenetsky, S. B., Hill, D. S., & Trehub, S. E. (1997). Effect of Tempo and Dynamics on the Perception of Emotion in Music. Psychology of Music,25(2), 149-160. doi:10.1177/0305735697252005 Klemfuss, N., Prinzmetal, W., & Ivry, R. B. (2012). How Does Language Change Perception: A Cautionary Note. Frontiers in Psychology, 3, 78. http://doi.org/10.3389/fpsyg.2012.00078 Koelsch, S. (2010, February 10). Towards a neural basis of music-evoked emotions. Retrieved October 16, 2016, from http://www.sciencedirect.comrt/science/article/pii/S1364661310000033 Koelsch, S. et al. (2006) Investigating emotion with music: an fMRI study. Hum. Brain Mapp. 27, 239–250 Neuschwander, DeLora J. (2012) "Music in the Third Reich," Musical Offerings: Vol. 3 : No. 2 , Article 3. DOI: 10.15385/jmo.2012.3.2.3 Available at: http://digitalcommons.cedarville.edu/musicalofferings/vol3/iss2/3 Sethares, W. A. (2005). Tuning, timbre, spectrum, scale. Retrieved December 15, 2016, from https://books.google.com/books?hl=en&lr=&id=wgoPicjjy6gC&oi=fnd&pg=PR5&dq=timbre&ots=JxVvCdrpU0&sig=_CGHPYDXl3TtvxIdizzCxT4T-rM#v=onepage&q=timbre&f=false United States Holocaust Memorial Museum. Introduction to the Holocaust. Holocaust Encyclopedia. Retrieved October 2, 2016 https://www.ushmm.org/wlc/en/article.php?ModuleId=10005202 Wadlinger, H. A., & Isaacowitz, D. M. (n.d.). (1st ed., Vol. 8). American Psychological Association. Retrieved from http://psycnet.apa.org/journals/emo/8/1/121.pdf

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