@inbook{10.7722/j.ctt13wztbg.13,
 ISBN = {9781571139160},
 URL = {http://www.jstor.org/stable/10.7722/j.ctt13wztbg.13},
 abstract = {When the East German composer Hanns Eisler passed away on September 6, 1962, Lilly Becher stated that “Hanns Eislers bleibendes Denkmal ist die Melodie seines Lebens. Sie ist ‘als namenloses Lied’ eine Melodie des Volkes geworden. Sie begleitet als revolutionäres Kampflied den Aufbruch der Massen in die Zukunft.” (Eisler’s enduring monument is the melody of his life, which has become a “nameless song,” a melody of the people. As a revolutionaryKampflied[song of struggle] it accompanies the uprising of the masses into the future.)¹ Written by the wife of he former culture minister and Eisler’s collaborator for the East},
 author = {Martha Sprigge},
 booktitle = {Classical Music in the German Democratic Republic: Production and Reception},
 edition = {NED - New edition},
 pages = {157--182},
 publisher = {Boydell & Brewer},
 title = {Hanns Eisler’s Funeral and Cultures of Commemoration in the GDR},
 year = {2015}
}