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Part 1-Theoretical and Historical Mappings.Chapter 1-Defamed but seized: contradictory approaches of Nazi music politics to Neue.- Chapter 2-A plurality of (metaphorical) languages: Neue Sachlichkeit under the prism of multilingualism.- Part 2:Decentering Neue Sachlichkeit.- Chapter 3-New Objectivity in interwar Catalonia: reception and influence.- Chapter4-Neue Sachlichkeit and the beginnings of modern Slovak music.- Chapter5-: Neue Sachlichkeit in Sweden? On the search for a modernist aesthetics.- Chapter6-The complexity of banality: Neo-classicism and Popular Music in Pauline Halls Suite for Wind Quintet.- Part 3:Institutional Foundations of Neue Sachlichkeit in Europe.- Chapter 7-The most objective music: the ascendancy of Neue Sachlichkeit as norm in Swedish church music.- Chapter 8-A Lost Imagination? New Objectivity and the Swedish Section of the International Society for Contemporary Music (ISSM) 1923-1939.- Chapter9-Between Expressionism and Neue Sachlichkeit? Transformations of the H©·andel opera revival in the light of artistic networks.- Part 4-Sachliche Practices Through New Media and Technology.- Chapter 10-New attitudes of professional music listeners in Hungary in the 1920s and 1930s.Chapter 11-Kajsa Rootz©Øen and the record review: Solitary listening to die Sache selbst.Chapter 12-The performer and the machine: unexpected parallels between Neue Sachlichkeit and Italian Neo-Idealism in the interwar years.- Chapter 13-Between Sachlichkeit and sentimentality: the medial qualities of early Danish music radio programming.