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In April 2006, the Swedish Scientific Council (Vetenskapsrådet) presented the results of various research projects examining Sweden’s relations with Nazism, Nazi Germany, and the Holocaust (Sveriges förhållande till Nazism, Nazityskland och Förintelsen). Several researchers and journalists were surprised at how much Sweden had accommodated Nazi Germany and how much Sweden complied with Nazi Germany’s demands. The project report seemed to adopt the perspective that Nazism was something that came to Sweden from Germany. But earlier research has established that Sweden also took part in developing Nazism, for example through the inspiration of Swedish racial biologists. My study, Music and Politics in the Shadow of Nazism: Kurt Atterberg and Swedish-German Musical Relations, shows how both countries stimulated each other in Swedish-German musical relations during the Nazi period in Germany (1933– 1945) and how music was used as a political tool. In my study I also wanted to answer the following questions: Which ideas about “good” and “bad” music were brought to the fore? What kinds of national tales were created and what did they imply for Swedish-German musical relations at the time in the shadow of Nazism? I argued that music can only acquire a political meaning when it is placed in a verbal or symbolic context. In my study I analyzed conversation and debates about music to find out what meaning becomes attached to music in different verbal contexts. The book focuses on material from Swedish, German, and Austrian archives by and about the Swedish composer Kurt Atterberg (1887–1974). I studied correspondence, memoirs, minutes, newspaper articles, and radio programmes, and talked to contemporary Swedish composers. Kurt Atterberg was a central figure in Swedish music during the first half of the twentieth century, and his life gives a glimpse of the spirit of the time. Atterberg composed nine symphonies, five operas, and several orchestral works, concertos, and pieces of chamber music. Many of his compositions have a national romantic character and a popular style. Atterberg also worked as music critic for the newspaper Stockholms-Tidningen (1919–1957). He stood up for composers’ rights and was one of the founders of the Swedish Composers’ Society (Föreningen Svenska Tonsättare, FST) and the Swedish Performing Rights Society (STIM). He was also a Swedish representative in several international composers’ rights organizations. Between 1940 and 1953 he was the secretary of the Royal Academy of Music (Kungliga Musikaliska Akademien, KMA) in Stockholm. During the first half of the twentieth century Atterberg had a strong influence not only on Swedish musical life, but also on international musical relations. Atterberg left a huge amount of material behind. Among other material, he collected about ten thousand letters and wrote about fifteen hundred pages of

"We Take Care of the Artist": The German Composers' Meeting in Berlin, 1934