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

Artistic and Creative Activities

Anderton, A. E. (2026). Performed (on the piano and accordion) the score for "The Journey of a Proletarian Woman" (1929), a Weimar Silent Film. Held at the Williams Center for the Arts at Lafayette College in Easton, PA.. Lafayette College.

Books

Anderton, A. (2026). Audible Testimonies: Surviving the Third Reich in Music and Media. Oxford University Press.

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

Journal Articles

(2027). "Survivorship on the Radio: Elsa Schiller and Inge Lammel’s Public Musicology in West and East Berlin.” West Berlin Musicology Special Journal Issue, Under Review. This special journal issue is being compiled during Fall 2026 and will feature scholars working in the US and Germany on Cold War Berlin. In Progress.

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

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

(2027). The Audible Ruin: Making Music in Kyiv, Fukushima, and Berlin. The Oxford Handbook on Music, Sound, and Trauma Oxford University Press. In Progress.

(2027). “Surveillance, Sound, and Technologies of Listening in Goodbye Lenin!,” . Sound, Music, and Noise in German Cinema Rochester: Camden House.

(2025). "The Gendered Sirens of Collective Memory: Composing the Air Raid Experience after World War II". Music and Sound Propaganda in the Era of Fascisms (pp. 190-211). Schöningh, Germany. Brill Press.

(2024). “Sustainable Sounds: Hildegard Westerkamp’s Soundwalking, Then and Now,” . The German Quarterly.

(2024). "Recreating the Soundscape of Weimar: Sound Technologies, Trauma, and the Sonic Archive," In Babylon Berlin and Contemporary Visual Culture, edited by Hester Baer and Jill Smith (London: Bloomsbury Publishing, 2024), 93-104. . 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.

Conference Proceedings

Anderton, A. E. (2014). "Wir genießen die himmlische Freuden, D’rum tun wir das Irdische meiden: Mahler’s Fourth Symphony in Postwar Berlin". After Mahler’s Death.

Presentations

Anderton, A. E. (2026, November 9). Chair for Women and Gender Endowed Lecture by Prof. Ana Alonso-Minutti at the annual American Musicological Society meeting. American Musicological Society. OnlineIn Progress.

Anderton, A. E. (2026, June 9). Sound Art, Ensounding Trauma: Hearing Holocaust Representation in Musical Testimonies. Assessing the State of Holocaust Studies. Berlin, Germany: Barenboim-Said Academy.

Anderton, A. E. (2026, May 9). The Survivor Voice and Berlin Musicology. Berlin Musicologies Workshop. Freie Universität Berlin and Online: Free University Berlin.

Anderton, A. E. (2026, September 9). “Weitersingen”: Protest Music and Gendered Soundscapes of Resistance after 1968. German Studies Association. Phoenix, AZ: German Studies Association. In Progress.

Anderton, A. E. (2026, May 9). Book Talk: Music and Testimony. Musicology Bites, Graduate Center CUNY. Graduate Center, CUNY

Anderton, A. E. (2026, November 9). Music, Trauma and Opera Panel at the American Musicological Society Annual Conference, Chairing. American Musicological Society. In Progress.

Anderton, A. E. (2026, September 9). Sounding Testimonies, Seeing Blackness: Fasia Jansen, Protest Music, and the Moving Image. German Studies Association, Annual Meeting. Washington, DC

Anderton, A. E. (2026, November 9). Berlin Musicologies - Survivor Musicians in Berlin: Ella Stockhausen and Inge Lammel. Berlin Musicologies. Free University of Berlin

Anderton, A. E. (2026, September 9). Sounding Testimonies, Seeing Blackness: Fasia Jansen, Protest Music, and the Moving Image. German Studies Association, Annual Meeting. Washington, DC

Anderton, A. E. (2026, November 9). Survivor Voice and Testimony. American Musicological Society, Annual Meeting. Minneapolis, MN: American Musicological Society.

Anderton, A. E. (2026, October 9). Keynote Address: Reflections on Music, Testimony, and War. Mount Allison University. New Brunswick, Canada

Anderton, A. E. (2026, November 9). The Sounds of Testimony: Making Women’s Songs of Survival Audible. Holocaust Educational Foundation: Lessons & Legacies. Prague, Czech Republic

Anderton, A. E. (2026, March 9). The Audible Ruin: Listening to Music after Catastrophe, Invited Talk                  . Lehigh University, Bethlehem, PA. Lehigh University, Bethlehem, PA

Anderton, A. E. (2026, July 9). Forms of Testimony: In Conversation with Kim Wünschmann, Amos Goldberg, and Abby Anderton. Institute for the History of the German Jews and University of Hamburg. Hamburg, Germany

Anderton, A. E. (2026, July 9). Music and Testimony in the Wake of the Holocaust, Invited Talk . Institute for the History of the German Jews. Hamburg, Germany

Anderton, A. E. (2026, November 9). The Sounds of Testimony: Making Women’s Songs of Survival Audible. Holocaust Educational Foundation: Lessons & Legacies. Prague, Czech Republic: Holocaust Educational Foundation: Lessons & Legacies.

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. (2026, May 9). Light Bulb Moments in the Humanities Classroom (virtual) City University of New York / Andrew W. Mellon Foundation. CUNY Humanities.

Anderton, A. E. (2026, June 9). Music, Testimony, and Reconciliation, Invited Talk (virtual). Barenboim-Said Academy, Berlin. Barenboim-Said Academy, Berlin

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

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

Anderton, A. (2021, February 28). Female Survivors and Musical Testimony. Music, Sound, and Trauma - Indiana University. Online: Indiana University.

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

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

Anderton, A. E. Music, the Air War, and Acoustic Memory (virtual). Book Launch Event, Music in World War II. Book Launch Event, Music in World War II: Book Launch Event, Music in World War II.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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, 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, 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.

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). 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.

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.

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University

Professional

Public