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This chapter examines the limited impact of Neue Sachlichkeit within the Swedish section of the International Society for Contemporary Music (ISSM) between 1923 and 1939. Despite active engagement with European modernist networks, key Swedish composers and critics—such as Gunnar Jeanson and Sten Broman—approached New Objectivity with scepticism or ambivalence, favouring Expressionism and French Neoclassicism. Drawing on correspondence, concert reviews, and institutional discourse, the chapter argues that New Objectivity remained a marginal and often misunderstood aesthetic in Sweden. Its reception was shaped less by stylistic resistance than by conceptual uncertainty, nationalistic framing, and a reluctance to fully endorse its ideals. The study positions the ISSM as both a site of mediation and a missed opportunity in the transnational dissemination of neo-objective aesthetics.

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A Lost Imagination? “New Objectivity” and the Swedish Section of the International Society for Contemporary Music (ISSM), 1923–1939

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  • 发表日期：

    2025年

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  • Johan Larson Lindal

摘要

This chapter examines the limited impact of Neue Sachlichkeit within the Swedish section of the International Society for Contemporary Music (ISSM) between 1923 and 1939. Despite active engagement with European modernist networks, key Swedish composers and critics—such as Gunnar Jeanson and Sten Broman—approached New Objectivity with scepticism or ambivalence, favouring Expressionism and French Neoclassicism. Drawing on correspondence, concert reviews, and institutional discourse, the chapter argues that New Objectivity remained a marginal and often misunderstood aesthetic in Sweden. Its reception was shaped less by stylistic resistance than by conceptual uncertainty, nationalistic framing, and a reluctance to fully endorse its ideals. The study positions the ISSM as both a site of mediation and a missed opportunity in the transnational dissemination of neo-objective aesthetics.