In the publishing house Robert Rühle, Berlin, a new film music collection appears under the label “Filmharmonie“. The collection comprises thirty numbers, compositions by Huppertz, Künnecke, Porret, Rust, Becce and others. The publication is edited by Werner Richard Heymann.
Hans Erdmann. Reichsfilmblatt, September 24, 1927.
From 1919 to 1934, the Universal Edition published the earliest journal specifically devoted to modern music: the Musikblätter des Anbruch (from 1929 onwards just called Anbruch). The journal’s establishment came along with Schönberg’s Verein für musikalische Privataufführungen, the Salzburger Festspiele, and the Internationale Gesellschaft für Neue Musik and thus has to be seen in post-war context. Focusing on modern music and culture, it also correlated with Melos in Berlin (1920) and Auftakt in Praha (1920). As each issue closed with an extensive advertisement section, the journal further functioned as self-promotion of the young Viennese publishing house, which had been releasing contemporary music since 1908.
In 1923, critic Paul Stefan (1879–1943) followed Otto Schneider, former editor of the Expressionist periodical Anbruch (1917–1922), as chief-editor until the journal’s demise in 1937. Furthermore, the editorial board included names such as Alfred Kalmus, Paul Amadeus Pisk, Hans Heinsheimer, and Theodor W. Adorno. Progressive composers and writers – critics as well as musicologists – were among the journal’s contributors, e. g. Ernst Křenek, Franz Schreker, Arnold Schönberg, Alban Berg, Kurt Weill, Béla Bartók, Egon Wellesz, Paul Bekker, and Hans Heinz Stuckenschmidt. Therefore, the (Musikblätter des) Anbruch represented a platform for contemporary critical, aesthetical, and theoretical discourses.
As of September 1930, the Anbruch incorporated Pult und Taktstock. In 1935, the journal was renamed Österreichische Zeitschrift für Musik, gradually neglecting its former leading figures and principles (in particular modernism and internationalism).
See for instance: Paul Stefan (Rosenkavalier und Filmmusik); Guido Bagier (Der sprechende Film); Carl Robert Blum (Das Musikchronometer); Hans Kayser (Aus der Praxis der Filmmusik); Giuseppe Becce (Tonfilm und künstlerische Filmmusik).
Sections: Musikautomaten (1926); Musik und Technik (1929).
Special issues: Musik und Maschine (October/November 1926); Leichte Musik (March 1929); Probleme der Kompositionstechnik (September/October 1929); Wo stehen wir? (June 1930).
In 1901, composer Bernhard Schuster (1870–1934) established the illustrated music journal Die Musik that was published semimonthly by Schuster & Loeffler (Berlin–Leipzig) until 1915. After an interruption of seven years, the publisher merged with the Deutsche Verlags-Anstalt (Stuttgart), also known for its music books by important writers and critics. In 1929, the journal was taken over by Max Hesses Verlag (Berlin). Schuster remained editor-in-chief until 1933, when the journal became a propaganda organ of the Nazi regime. In 1943, Die Musik merged with Zeitschrift für Musik, Allgemeine Musikzeitung, and Neues Musikblatt (formerly Melos), leading to Musik im Kriege.
Die Musik reached a wide readership by virtue of its music supplements and iconographic documents, its special issues (“Sonderhefte”), and its variety of topics – including copyright questions and the social status of musicians, pedagogical issues, jazz and film music as well as reviews of concert and opera performances, conferences and festivals, books and music publications and international newspaper articles. Thus, it became the most successful and prestigious German-language music journal of the first half of the twentieth century.
See for instance: Guido Bagier (Musikalische Probleme des Films, 1925; Probleme des Tonfilms, 1927), Paul Marsop (Lichtspiel und Lichtspielmusik, 1924), Hans Heinz Stuckenschmidt (Die Musik zum Film, 1926), Robert Beyer (Musik und Film, 1929; Tonfilm, 1929).
Section: Mechanische Musik (from 1927 to 1930).
Special Issue: Funk, Phono und Tonfilm (January 1932).