Die Musik der Fremde. Komponisten im Exil

What happens to a composer when persecution and exile means their true music no longer has an audience? In the 1930s, composers and musicians began to flee Hitler's Germany to make new lives across the globe. The process of exile was complex: although some of their works were celebrated, these composers had lost their familiar cultures and were forced to navigate xenophobia as well as entirely different creative terrain. Others, far less fortunate, were in a kind of internal exile--composing under a ruthless dictatorship or in concentration camps and ghettos. Michael Haas sensitively records the experiences of this musical diaspora. Torn between cultures and traditions, these composers produced music that synthesized old and new worlds, some becoming core portions of today's repertoire, some relegated to the desk drawer. Encompassing the musicians interned as enemy aliens in the United Kingdom, the brilliant Hollywood compositions of Erich Wolfgang Korngold, and the Brecht-inspired theater music of Kurt Weill, Haas shows how these musicians shaped the twentieth-century soundscape--and offers a moving record of the incalculable effects of war on culture.

Motivation and Research Questions This work seeks to further our understanding on the management of innovations in network industries. Although the economics of network markets like telecommuni- tions, Internet, email, media, computer, and service operations in banking, legal and airline industries have become a major field of economic research; knowledge about how to manage innovation within these markets is less advanced et al. 2000: 793; 2003: 198). The goods and services of these industries regularly manifest themselves as complex system products, which are composed of multiple mutually dependent components and often supplied by different industries 1998: 691; TIDD 1995: 308). Innovation processes associated with complex systems products, therefore, display a systemic character and the issue of how to coordinate the diverse but nevertheless complementary inputs poses a major challenge for innovation management. The issue of how to organise complex innovation projects, however, is still open for debate: A broad range of organisational forms--e. g, vertical integration and TEECE (1996: 68), TEECE (1996: 205), and (2001: 227); decentralised networks--BRESNAHAN and (1999: 13-14); (1999: 162) and (1992: 310); proje- organisationsmHOBDAV (2000: 892) has not only been theoretically derived, but is reported as well in practical use.