| Resumo: | Why was classical music, and particularly the music of Johann Sebastian Bach, so central to East Germany’s nation branding efforts, both domestically and abroad? How did their cultural diplomacy endeavours, centered around classical music, facilitate the establishment of connections and the fostering of mutual understanding across and within the Cold War divide? Moreover, how important were non-state actors within these (hi)stories? This thesis explores the re-invention of the figure of Johann Sebastian Bach in the GDR, focusing on how the country leveraged the international popularity of its musical heritage within its international relations. It analyses various ways in which Bach’s legacy was reinvented for political purposes, ranging from top-down state-sponsored events to bottom-up transnational scholarly networks. The activities of a number of non-state actors take centre stage throughout, exploring the ways in which they were able to work across various borders, both within and across the Cold War divide. This research thus builds on and extends the framework of New Diplomatic History to rethink the inter-relationship between History, International Relations, and Musicology.
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