Following the collapse of the Wilhelmine Empire in Germany, a new generation of artists found a fresh environment where they might flourish. Their optimism was accompanied by an equally powerful distrust of the immediate past, for post-romanticism - and ultimately expressionism - served as symbols of a bygone era. Composers, performers, and audiences alike sought to negate their recent past in various ways: by affirming modern technology (electronic or mechanical music, sound recordings, radio, and film), exploring music of a more remote past (principally Baroque music), and celebrating popular music (particularly jazz). The essays contained in this volume address these fundamental themes. Examining the way in which German music was performed, staged, programmed, and received in the 1920s, they not only offer deeper insights into Weimar culture itself but shed light on our contemporary musical world.

1. Stage and screen: Kurt Weill and operatic reform in the 1920s Bryan Gilliam; 2. Rethinking sound: music and radio in Weimar Germany Christopher Hailey; 3. 'Overcoming romanticism': on the modernisation of twentieth-century performance practice Robert Hill; 4. Lehrstück: an aesthetics of performance Stephen Hinton; 5. Singing Brecht versus Brecht singing: performance in theory and practice Kim H. Kowalke; 6. German musicology and early music performance, 1918-1933 Pamela Potter; 7. Jazz reception in Weimar Germany: in search of a shimmy figure J. Bradford Robinson; 8. The idea of Bewegung in the German organ reform movement of the 1920s Peter Williams.