The Denkmäler deutscher Tonkunst series, which was one of the most impressive journals during that time, served as a monument for German musical art since, according to Philipp Spitta who stood as its editor-in-chief, it was made up of works with both historical and artistic significance that German people should be able to appreciate. There were, however, situations wherein political separations for music history were made evident. The political instability of the Denkmäler is brought about not by coincidence but by the imperial rivalries building up during that time. This chapter illustrates how the Denkmäler project functions as a collection of collections. Because the collection is open-ended and it attempts to stand for the entire nation, it has to avoid being completed.
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