also Folk music, were promoted and included in the propaganda. Numerous composers and musicians were persecuted or murdered by the National Socialists, often because of their Jewish origins. Many went into exile. Those who remained in Germany were partly attributed an "inner exile". An important source on the position of New Music during the National Socialist era was the annotated reconstruction of the above-mentioned exhibition Degenerate Music, which was first shown in Frankfurt from 1988 onwards, thus gradually beginning a reappraisal of this topic. Institutionalisation and the new musical beginning after 1945 The harsh rejection of New Music by concert audiences, which has gone down in history in a series of spectacular premiere scandals, has significantly promoted the literary discussion of New Music. Thus, first of all, the critics of the relevant journals took up their positions, but composers also found themselves increasingly called upon to comment on their creations or to take up the cause of their colleagues' works. Parallel to this, an increasingly extensive body of musical literature emerged that also sought to describe the philosophical, sociological and historical dimensions of New Music. Another subsequent phenomenon was the creation of specialised forums for the performance of New Music. Schönberg's "Society for Private Musical Performances" (1918) is an early consistent step, which, however, slowly removes "Neue Musik" from the field of vision of the (quantitatively large) concert audience and turns it into a matter of specialists for specialists. The establishment of regular concert events, such as the Donaueschingen Festival and the founding of Internationale Gesellschaft für Neue Musik are a further reaction to the significantly changed sociological situation in which composers of New Music and their audiences found themselves. The caesura in the development of New Music brought about by the catastrophe of the Second World War is attempted to be compensated for by the progressive institutionalisation of musical life after 1945. The conscious new beginnings of the reopened or newly founded music academies attempted to pick up the thread of the interrupted development. The founding of the public broadcasting companies gave composers a new forum for their works, and the awarding of composition commissions additionally stimulated their production. After the end of the Second World War, the Kranichsteiner Ferienkurse für Neue Musik, organised every two years by the , became the most influential international event for new music in Germany. The dominant compositional techniques there were those of