[ANPPOM-L] musicologia e biografia: o caso de Eggebrecht

[Carlos Palombini]

The session "Musicology and Biography: The Case of H. H. Eggebrecht,"
presented on 6 November 2010 at AMS Indianapolis, was recorded. The
audio files are now available online at the AMS web site:

http://www.ams-net.org/indianapolis/eggebrecht/

This topic was broached on AMS-L shortly after Boris von Haken
presented the research held on 17 September 2009 at the annual
meeting of the Gesellschaft für Musikforschung held in Tübingen.
Interested readers may wish to review the archives, 9/23/2009 and
following.

The news that Hans Heinrich Eggebrecht may have been involved in Nazi
atrocities as a young man, as reported by Boris von Haken at the meeting of
the Gesellschaft für Musikforschung in September 2009 and in *Die Zeit* on
December 17, has surprised and shocked musicologists in Germany and abroad.
Von Haken's research suggests that the young Eggebrecht, as a soldier in the
Feldgendarmerie (military police), assisted with others in his unit in the
mass execution of at least 14,000 Jews in Crimea in December 1941. Von
Haken's book, *Holocaust und Musikwissenschaft*, scheduled for publication
in Fall 2010, lays out this case and puts it in a wider context.

Eggebrecht died ten years ago; he never mentioned any involvement in Nazi
atrocities and had made a reputation for himself as a liberal and humane
scholar. Eggebrecht was one of the most important, and most revered,
musicologists in postwar Germany. While his international stature never
quite reached the heights of a Dahlhaus, his significance within Germany's
academic landscape is hard to overestimate. His numerous students, many of
whom occupy important positions in Germany and abroad, have responded to the
allegations in disbelief and shock.

The responses to von Haken's book have been swift and severe: ranging from
outright denial, since we cannot know what exactly Eggebrecht did on the
days the atrocities took place, to speculations about how Eggebrecht's
scholarship should be interpreted in light of this news.

Emotions are clearly running high, and it seems important in this situation
to offer a scholarly forum for reflection and exchange on this important
event that has put musicology in the newspaper headlines. What does von
Haken's research mean for Eggebrecht's place in the history of musicology?
What are the consequences with regards to his scholarship, particularly in
light of the Germanocentric focus of much of his work? To what extent do
these disclosures affect his legacy? The questions raised here aim to
understand the significance of the Eggebrecht case, but also to broaden out
the discussion to the larger historiographical questions about the
relationships between biography and scholarship, the effect of the Cold War
context on musicology's previous reluctance to take on political issues, and
the institutional history of postwar musicology in Germany and
internationally.

-- 
Carlos Palombini
cpalombini em gmail.com
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