Abby Elaine Anderton

Education

Ph.D., Historical Musicology, University of Michigan Ann Arbor MI

Fulbright Scholar, Musicology, Humboldt University, Berlin (Germany) Berlin Germany

Language Certification, German Intensive Language Study, Goethe Institute, Berlin (Germany) Berlin Germany

M.A., Historical Musicology, University of Michigan Ann Arbor MI

B.A., Music & English (2 BA degrees), Bucknell University Lewisburg PA

Books

Anderton, A. (2019). Rubble Music: Occupying the Ruins of Postwar Berlin. Indiana University Press.

Anderton, A. Audible Testimonies: Holocaust Survival in Music and Media since 1945. In Progress.

Journal Articles

(2022). "Introduction to the Rubble Forum: Hearing the Musical Resonances of Catastophe." Co-written with Martha Sprigge. Twentieth-Century Music,

(2022). The Musicians of Ravensbrück: The Latent Sonic Memories of Female Singers. In Progress.

Anderton, A. (2019). The Sound of Atrocity Propaganda: Hearing the Concentration Camp in 1945. German Studies Review, 42(3). 499-518.

Anderton, A. (2018). Leonard Bernstein and his Performances with Holocaust Survivors. American Music Review,

Anderton, A. (2016). “Hearing Democracy in the Ruins of Hitler’s Reich: American Musicians in Postwar Germany”. Comparative Critical Studies, 13(2). 15.

Anderton, A. (2015). Displaced Music: The Ex-Concentration Camp Orchestra in Postwar Germany. Journal of Musicological Research , 34(2). 141-159.

(2013). “It was never a Nazi Orchestra”: The American Re-education of the Berlin Philharmonic. Music and Politics, VII(1).

Anderton, A. (2011). The Stars and Stripes of the Berlin Philharmonic: Classical Music and the American Agenda in West Berlin. Music Research Forum, 24.

Book Chapters

(2023). “Recreating the Soundscape of Weimar: Music and Archival Sound in Babylon Berlin,” Book Chapter in Babylon Berlin and Contemporary Visual Culture, edited by Hester Baer and Jill Smith (London: Bloomsbury Publishing). .

Anderton, A. (2020). Bunkers, Cellars, and Acoustic Memory: Experiences of War and Surrender in Nazi Germany. In Potter, P., & Baade, C. (Eds.), Music in World War II Indiana University Press.

Anderton, A. (2009). Rachmaninoff, Sergei. In Cramer, A. (Ed.), Musicians and Composers of the 20th Century (p. 4). Hackensack, NJ,USA. Salem Press.

Presentations

Anderton, A. E. Music, Testimony, and Reconciliation, Invited Talk (virtual), Barenboim-Said Akademie, Berlin.

Anderton, A. E. Light Bulb Moments in the Humanities Classroom (virtual), Sponsored by Transformative Learning in the Humanities, City University of New York / Andrew W. Mellon Foundation.

Anderton, A. E. Music for Use as a Political Concept, Invited Talk (virtual) Dramatic Arts Program, New York University.

Anderton, A. (2021, February 28). Female Survivors and Musical Testimony. Music, Sound, and Trauma. Online (but would have been Bloomington, IN): University of Indiana.

Anderton, A. (2021, February 28). Survivor Musicians and the Sound of Testimony. : Jewish Music Forum.

Anderton, A. E. Music as Testimony, Invited Talk (virtual) University of California, Santa Barbara. University of California, Santa Barbara

Anderton, A. E. Testimony, Music, and Nazi Crimes, German Studies Association Virtual Meeting. German Studies Association.

Anderton, A. E. Air Raids and Musical Composition Music, Sound, and Propaganda Virtual Conference, Sponsored by Humboldt University, Berlin and the University of Zürich. Music, Sound, and Propaganda Virtual Conference, Sponsored by Humboldt University, Berlin and the University of Zürich.

Anderton, A. (2020, November 30). Gender, Music, and the Holocaust. The American Musicological Society.

Anderton, A. (2020, October 31). “Earwitness” to Nazi Crimes? Hearing Musical Responses to National Socialism. German Studies Association.

Anderton, A. (2020, February 28). Music as Testimony. New York, NY: CUNY Graduate Center.

Anderton, A. (2020, November 30). The Sound of Testimony: Performance and Composition after the Holocaust. Lessons and Legacies.

Anderton, A. (2019, April 30). Scholar's Table. Leonard Bernstein, NY Philharmonic Library, Lincoln Center Scholar's Table. Lincoln Center, New York Philharmonic Archives: University of Arizona.

Anderton, A. (2019, February 28). Joseph Beuys and the Scottish Symphony. Mishkin Gallery Talk. New York, NY: Mishkin Gallery Talk.

Anderton, A. (2019, November 30). Open Educational Resources (OER) and University Design: Strategies for Creating a Diverse, Inclusive Music History Curriculum.. American Musicological Society Meeting. Boston, MA

Anderton, A. (2019, October 31). Performing Testimony in the Post-Holocaust Era. German Studies Association. Portland, OR: German Studies Association.

Anderton, A. (2018, September 30). Scoring the Visual: Sonic Representations of Wartime Destruction. Pittsburgh, PA: German Studies Association.

Anderton, A. (2017, September 30). Scholar's Table, University of Arizona. New York Philharmonic Archives, Seminar Discussion. Lincoln Center: University of Arizona.

Anderton, A. (2017, April 30). Moderator for Holocaust Remembrance Day Panel. Public Musicology: New York Philharmonic, Insights at the Atrium. Lincoln Center: New York Philharmonic.

Anderton, A. (2017, January 28). Berlin, 1945: Towards a Ruin Aesthetic in Music. American Musicological Society - Regional Chapter Meeting. New York, NY

Anderton, A. (2017, August 31). Confronting Fascism: Multi-Disciplinary Responses to WWII and its Aftermath. Modernist Studies Association Annual Meeting. Amsterdam, The Netherlands

Anderton, A. (2017, June 30). Rubble and Music after 1945. Berlin Program for Advanced European and German Studies. Berlin: Freie Universität Berlin.

Anderton, A. (2017, November 30). The Rubble Arts: Music after Urban Catastrophe. American Musicological Society. Rochester, NY

Anderton, A. (2017, October 31). Scoring the Visual: Sonic Representations of Wartime Destruction in Postwar Germany. German Studies Association. Atlanta, GA

Anderton, A. (2016, October 1). Suffering, Music, and the Allied Air War. German Studies Association. San Diego: German Studies Association.

Anderton, A. (2016, July 10). Music and Occupation Postwar Germany. Beyond Enemy Lines International Conference.. Venice: Ca’Foscari University of Venice.

Anderton, A. (2015, May 28). Playing Beethoven in the Rubble: Cinematic Depictions of Music-Making in Postwar Germany. Music and the Moving Image. New York, NY: New York University.

Anderton, A. (2015, March 27). Hearing Anti-Fascism in Postwar Germany: Reconstructing “Entartete Musik” after 1945. Postmodernity's Musical Pasts International Conference. New York, NY: The Barry S. Brook Center for Music Research and Documentation at The City University of New York, The Graduate Center.

Anderton, A. (2015, December 11). “An Anti-Concentration Camp Opera”: Beethoven’s Fidelio in the Ruins of Postwar Germany. Lyrica Dialogues. Cambridge, Massachusetts: Harvard University.

Anderton, A. (2015, November 14). “An Anti-Concentration Camp Opera”: Beethoven’s Fidelio in the Ruins of Postwar Germany. American Musicological Society. Louisville, Kentucky: American Musicological Society.

Anderton, A. (2015, July 2). Reeducating Beethoven: The American Musical Occupation in Postwar Germany. Beyond Enemy Lines: Culture in Postwar Germany. London, England: King's College, London.

Anderton, A. (2014, July 7). Performing the Nuremberg Trials: The Ex-Concentration Camp Orchestra in Postwar Germany. Continuities and Ruptures: Artistic Responses to Jewish Migration, Internment and Exile in the Long Twentieth Century. University of Leeds, UK: Worldwide Universities Network Fund for International Research Collaboration.

Anderton, A. (2014, September 19). Hearing the Ruin in Postwar Berlin. German Studies Association. Kansas City, MO: GSA.

Anderton, A. (2014, October 18). Concertizing with the Enemy: Leonard Bernstein’s Visit to Postwar Germany. Jewish Music and Identity. Youngstown, Ohio: Youngstown State University.

Anderton, A. (2013, October 6). Displaced Music: Performative Rejections of Victimhood in Postwar Germany. German Studies Association, October 2013. Denver, CO: GSA.

Anderton, A. (2013, November 10). Denazifying Beethoven: The American Cultural Agenda in Postwar Berlin. American Musicological Society. Pittsburgh, PA: AMS.

Anderton, A. (2012, March 31). Ruin as an Artistic Catalyst: The Berlin Philharmonic Orchestra and the American Military Government in 1945. Music, Oppression and Resistance. Amsterdam: University of Amsterdam.

Anderton, A. (2011, May 31). Wir genießen die himmlische Freuden, D’rum tun wir das Irdische meiden: Mahler’s Fourth Symphony in Postwar Berlin. Nach Mahlers Tod: After Mahler's Death. Vienna, Austria: University of Music and Performing Arts.

Anderton, A. (2011, March 31). Boris Blacher and Music in the Rubble. European Fulbright Commission. Berlin, Germany: Fulbright Commission.

Anderton, A. (2011, September 30). Classical Music, Propaganda, and the American Cultural Agenda in West Berlin. Music in Divided Germany. Berkeley, California: University of California, Berkeley.

Anderton, A. (2011, September 30). In den Ruinen der alten Philharmonie: Classical Music, Propaganda, and the American Cultural Agenda in Postwar Berlin. Music in Culture: Bucknell University Alumni Lecture Series. Lewisburg, PA: Bucknell University.

Anderton, A. (2011, July 31). “I Just Want to be Perfect”: Black Swan’s Misappropriation of Tchaikovsky’s Swan Lake. The Diva: An Interdisciplinary Conference. Liverpool Hope University, UK: Liverpool Hope University, UK.

Other Scholarly Works

Reviews

Anderton, A. (2017,June 1). Musical Witness and Holocaust Representation. Cambridge University Press,England: Twentieth-Century Music.

Anderton, A. (2014,March 1). Review, Pionier der alten Musik: Hans Eberhard Hoesch und die Kabeler Kammermusik.

College

University

Professional

Public