Composers, librettists, educators, critics, and especially musicologists, through their public statements, intellectual writings, and journals contributed to the justification of a totalitarian blueprint to be implanted through nazification. All music was then composed for the occasions of Nazi pageantries, rallies, and conventions. Composers dedicated so called 'consecration fanfares,' inaugurations fanfares and flag songs to the Fuhrer. When the Fuhrer assumed power the Nazi revolution was immediately expressed in musicological journalism. Certain progressive journalism pertaining to modern music was purged. Journals that had been sympathetic to the ‘German viewpoint,’ entrenched in Wagnerian ideals, like the "Zeitschrift für Musik" and "Die Musik", showed confidence in the new regime and affirmed the process of intertwining government policies with music. Joseph Goebbels used the "Völkischer Beobachter", a journal that was disseminated to the general public in addition to elites and party officials, as an organ of Reich Culture. By the end of the 1930s the "Mitteilungen der Reichsmusikkammer" became another prominent journal that reflected the music policy, organizational and personnel changes in musical institutions.