Revolution is not possible without music, yet this connection is seldom studied. This is especially true for the “year of revolution” 1848. There was a great demand for revolutionary music: every company in a National Guard or an Academic Legion needed its own songs and marches. These were heard at parades, torchlight processions, consecrations of flags, in the streets, on the barricades, in concerts and in salons. Familiar songs like the student “Fuchslied” or the imperial hymn were enlisted in the cause of the revolution. Nearly all of the composers of this time (both male and female) were involved in the production of relevant works, and musicians performed them, even if some would later distance themselves from their involvement in the postrevolutionary, neoabsolutist phase that followed. Concert and theatre programs also reacted musically to political events. Vienna stands at the center of this study, but the musical aspects of the revolution are also addressed in Graz, Klagenfurt, Trieste, Ljubljana, Zagreb, Novi Sad, Budapest, Pressburg, Prague, and in Lombardy/Venice.