1. W. H. Auden, The Age of Anxiety: A Baroque Eclogue, ed. Alan Jacobs (Princeton, NJ: Princeton University Press, 2011), 9.
4. David Trotter, Literature in the First Media Age: Britain between the Wars (Cambridge, MA: Harvard University Press, 2013).
5. Musicological studies of the interwar period in New York and London that indicate these predilections include Carol J. Oja, Making Music Modern: New York in the 1920s (New York: Oxford University Press, 2000); Ralph Giordano, Satan in the Dance Hall: Rev. John Roach Straton, Social Dancing, and Morality in 1920s New York City (Lanham, MD: Scarecrow Press, 2008); John Howland, âEllington Uptownâ: Duke Ellington, James P. Johnson, and the Birth of Concert Jazz (Ann Arbor: University of Michigan press, 2009); and Alexandra Wilsonâs forthcoming book on operatic culture in 1920s Britain.
6. Daniel Cavicchi, Listening and Longing: Music Lovers in the Age of Barnum (Middletown, CT: Wesleyan University Press, 2011).
7. David Edgerton, The Shock of the Old: Technology and Global History since 1900 (New York: Oxford University Press, 2006).
8. Laura Tunbridge, The Song Cycle (Cambridge: Cambridge University Press, 2010).
9. Edward Mendelson, Later Auden (London: Faber & Faber, 1999), 243.
10. The locus classicus is Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1983).
11. Remarqueâs first novel, All Quiet on the Western Front, was about the struggles of a young German who joined the army after the First World War. Despite publishersâ belief that the appetite for war-related material had waned, it was one of the best sellers of the late 1920s, including in translation. Heralded as a tribute to pacifism, it was banned in the Third Reich as degenerate.
12. Erich Maria Remarque, The Promised Land, trans. Michael Hofmann (London: Vintage, 2015), 293. Remarqueâs widow had published a version of the manuscript in 1971, the year after he died.
13. See Roderick Nash, The Nervous Generation: American Thought, 1917â1930 (Chicago: Rand McNally, 1970); of course, in the 1920s many conceived of the era as postwar.
14. Richard Overy, The Morbid Age: Britain between the Wars (London: Allen Lane, 2009), 7; and, on the period experiencing âa crisis of civilization,â 363â69. Alexandra Harris discusses anxiety and civilization in the interwar period in the preface to her Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames & Hudson, 2010); David W. Ellwood touches on pessimism about Europe and the âcivilization under threatâ mentality of the later 1920s in The Shock of America: Europe and the Challenge of the Century (Oxford: Oxford University Press, 2012), 145â46.
15. Norbert Elias, The Civilizing Process: Sociogenetic and Psychogenetic Investigations, ed. Eric Dunning, Johan Gouldsblom, and Stephen Mennell, trans. Edmund Jephcott (Oxford: Blackwell, 2000).
16. On the context of Eliasâs conception of Kultur and Zivilisation, with particular reference to the contradictory opinions of his contemporaries Oswald Spengler and Siegmund Freud, see Jacinta OâHagan, Conceptualizing the West in International Relations: From Spengler to Said (Basingstoke: Palgrave, 2002), 59â82; and Harry Redner, The Tragedy of European Civilization: Towards an Intellectual History of the Twentieth Century (New Brunswick, NJ: Transaction, 2015).
17. See Daniel Gorman, The Emergence of International Society in the 1920s (Cambridge: Cambridge University Press, 2012).
18. Clive Bell, Civilization: An Essay (Harmondsworth: Penguin, 1928), 13.
19. The contentious boundaries between high-, middle-, and lowbrow cultural experiences, particularly with regard to new media, are discussed by, among others, David Savran, Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class (Ann Arbor: University of Michigan Press, 2009); D. L. LeMahieu, A Culture for Democracy: Mass Communication and the Cultivated Mind in Britain between the Wars (Oxford: Oxford University Press, 1988); and Erica Brown and Mary Grover, eds., Middlebrow Literary Culture: The Battle of the Brows, 1920â1960 (London: Palgrave, 2011).
20. Joseph Horowitz, Moral Fire: Musical Portraits from Americaâs Fin-de-Siècle (Berkeley and Los Angeles: University of California Press, 2012).
21. Raymond Williams, âMetropolitan Perceptions and the Emergence of Modernismâ (1985), in The Politics of Modernism (London: Verso, 1989), 37â48.
22. There were, of course, significant venues outside of these neighborhoods, such as the Brooklyn Academy of Music.
23. For more on Anglo-American relations, see Genevieve Abravanel, Americanizing Britain: The Rise of Modernism in the Age of the Entertainment Empire (Oxford: Oxford University Press, 2012).
24. In his discussion of network analysis, JĂźrgen Osterhammel cautions against overlooking hierarchies and argues for considering nodes that may be of varying âthicknessesâ; see his The Transformation of the World: A Global History of the Nineteenth Century, trans. Patrick Camiller (Princeton, NJ: Princeton University Press, 2014), 710â24.
25. Daniel T. Rodgers, Atlantic Crossings: Social Politics in a Progressive Age (Cambridge, MA: Harvard University Press, 2000), 1.
26. Stephen Greenblatt, âA Mobility Studies Manifesto,â in Cultural Mobility: A Manifesto, ed. Stephen Greenblatt, Ines Ĺ˝upanov, Reinhard Meyer-Kalkus, Heike Paul, PĂĄl NyĂri, and Friederike Pannewick (Cambridge: Cambridge University Press, 2010), 250â53.
27. The term âDollarlandâ appears in newspaper clippings from 1915 and 1921 in Frieda Hempel, My Golden Age of Singing, annotated William R. Moran, with a prologue and epilogue by Elizabeth Johnston (Portland, OR: Amadeus Press, 1998), 226 and 339.
28. Cavicchi, Listening and Longing, 5.
29. An exception is the theorist Heinrich Schenkerâs diary of his wireless listening; see Kirsty Hewlett, âHeinrich Schenker and the Radio,â Music Analysis 34 (2015): 244â64.
30. See Peter Brooker and Andrew Thacker, eds., The Oxford Critical and Cultural History of Modernist Magazines, 3 vols. (Oxford: Oxford University Press, 2009â13). An equivalent history is not available for music, but some information on New York is available in Walter B. Bailey, ââFor the Serious Listeners Who Swear Neither At nor By Schoenberg: Music Criticism, the Great War, and the Dawning of a New Attitude towards Schoenberg and Ultra-Modern Music,â Journal of Musicology 32 (2015): 279â322; and The Cambridge History of Music Criticism, ed. Christopher Dingle, is forthcoming.
31. According to the Grove Dictionary, 103 music journals were founded in Great Britain between 1920 and 1940; in North America the total was 91. This was not more than had appeared in the first decade of the century, but they included some titles that became very well established (for comparison, between 1900 and 1909 fifty-five such journals appeared; however, most did not last more than five years). Many of the smaller interwar journals admittedly were also very short-lived and unstable: in a 1921 editorial the Monthly Musical Record pointed out that The Sackbut had changed editorship three times in eigh...