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Author: Michael Haas
Publisher: Yale University Press
ISBN: 0300154313
Category : Music
Languages : en
Pages : 505
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Book Description
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
Author: Michael Haas
Publisher: Yale University Press
ISBN: 0300154313
Category : Music
Languages : en
Pages : 505
Get Book Here
Book Description
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
Author: Erik Levi
Publisher: Springer
ISBN: 1349245828
Category : History
Languages : en
Pages : 316
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Book Description
In this authoritative study, one of the first to appear in English, Erik Levi explores the ambiguous relationship between music and politics during one of the darkest periods of recent cultural history. Utilising material drawn from contemporary documents, journals and newspapers, he traces the evolution of reactionary musical attitudes which were exploited by the Nazis in the final years of the Weimar Republic, chronicles the mechanisms that were established after 1933 to regiment musical life throughout Germany and the occupied territories, and examines the degree to which the climate of xenophobia, racism and anti-modernism affected the dissemination of music either in the opera house and concert hall, or on the radio and in the media.
Author: Jacob Katz
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 184
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Book Description
Richard Wagner's anti-Semitism considered in the context of his time, place, and aspirations rather than in relation to his later appropriation by the Nazis.
Author: Shirli Gilbert
Publisher: Oxford University Press
ISBN: 0199277974
Category : History
Languages : en
Pages : 262
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Book Description
In Music in the Holocaust Shirli Gilbert provides the first large-scale, critical account of the role of music amongst communities imprisoned under Nazism. She documents a wide scope of musical activities, ranging from orchestras and chamber groups to choirs, theatres, communal sing-songs, and cabarets, in some of the most important internment centres in Nazi-occupied Europe, including Auschwitz and the Warsaw and Vilna ghettos. Gilbert is also concerned with exploring theways in which music - particularly the many songs that were preserved - contribute to our broader understanding of the Holocaust and the experiences of its victims. Music in the Holocaust is, at its core, a social history, taking as its focus the lives of individuals and communities imprisoned under Nazism.Music opens a unique window on to the internal world of those communities, offering insight into how they understood, interpreted, and responded to their experiences at the time.
Author: George Lachmann Mosse
Publisher: Univ of Wisconsin Press
ISBN: 9780299193041
Category : Art
Languages : en
Pages : 460
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Book Description
George L. Mosse's extensive analysis of Nazi culture - ground-breaking upon its original publication in 1966 - is now offered to readers of a new generation. Selections from newspapers, novellas, plays, and diaries as well as the public pronouncements of Nazi leaders, churchmen, and professors describe National Socialism in practice and explore what it meant for the average German.
Author: Erik Levi
Publisher: Yale University Press
ISBN: 030012306X
Category : Music
Languages : en
Pages : 439
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Book Description
T̀his book fills an important gap in our understanding of the ways in which composers - Mozart in particular - are co-opted for social, cultural and political ends. And it teaches us that reception is as significant a part of cultural history as understanding music in its own time and place.'--Cliff Eisen, Professor of Music History, King's College London.
Author: Moritz Föllmer
Publisher:
ISBN: 0198814607
Category : History
Languages : en
Pages : 331
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Book Description
A ground-breaking study that gets us closer to solving the mystery of why so many Germans embraced the Nazi regime so enthusiastically and identified so closely with it.
Author: Alex Ross
Publisher: Farrar, Straus and Giroux
ISBN: 1429932880
Category : Music
Languages : en
Pages : 706
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Book Description
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Author: Michael H. Kater
Publisher: Yale University Press
ISBN: 0300245114
Category : History
Languages : en
Pages : 388
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Book Description
“A much-needed study of the aesthetics and cultural mores of the Third Reich . . . rich in detail and documentation.” (Kirkus Reviews) Culture was integral to the smooth running of the Third Reich. In the years preceding WWII, a wide variety of artistic forms were used to instill a Nazi ideology in the German people and to manipulate the public perception of Hitler’s enemies. During the war, the arts were closely tied to the propaganda machine that promoted the cause of Germany’s military campaigns. Michael H. Kater’s engaging and deeply researched account of artistic culture within Nazi Germany considers how the German arts-and-letters scene was transformed when the Nazis came to power. With a broad purview that ranges widely across music, literature, film, theater, the press, and visual arts, Kater details the struggle between creative autonomy and political control as he looks at what became of German artists and their work both during and subsequent to Nazi rule. “Absorbing, chilling study of German artistic life under Hitler” —The Sunday Times “There is no greater authority on the culture of the Nazi period than Michael Kater, and his latest, most ambitious work gives a comprehensive overview of a dismally complex history, astonishing in its breadth of knowledge and acute in its critical perceptions.” —Alex Ross, music critic at The New Yorker and author of The Rest is Noise Listed on Choice's Outstanding Academic Titles List for 2019 Winner of the Jewish Literary Award in Scholarship
Author: Edward B. Westermann
Publisher: University of Oklahoma Press
ISBN: 0806157135
Category : History
Languages : en
Pages : 337
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Book Description
As he prepared to wage his war of annihilation on the Eastern Front, Adolf Hitler repeatedly drew parallels between the Nazi quest for Lebensraum, or living space, in Eastern Europe and the United States’s westward expansion under the banner of Manifest Destiny. The peoples of Eastern Europe were, he said, his “redskins,” and for his colonial fantasy of a “German East” he claimed a historical precedent in the United States’s displacement and killing of the native population. Edward B. Westermann examines the validity, and value, of this claim in Hitler's Ostkrieg and the Indian Wars. The book takes an empirical approach that highlights areas of similarity and continuity, but also explores key distinctions and differences between these two national projects. The westward march of American empire and the Nazi conquest of the East offer clear parallels, not least that both cases fused a sense of national purpose with racial stereotypes that aided in the exclusion, expropriation, and killing of peoples. Westermann evaluates the philosophies of Manifest Destiny and Lebensraum that justified both conquests, the national and administrative policies that framed Nazi and U.S. governmental involvement in these efforts, the military strategies that supported each nation’s political goals, and the role of massacre and atrocity in both processes. Important differences emerge: a goal of annihilation versus one of assimilation and acculturation; a planned military campaign versus a confused strategy of pacification and punishment; large-scale atrocity as routine versus massacre as exception. Comparative history at its best, Westermann’s assessment of these two national projects provides crucial insights into not only their rhetoric and pronouncements but also the application of policy and ideology “on the ground.” His sophisticated and nuanced revelations of the similarities and dissimilarities between these two cases will inform further study of genocide, as well as our understanding of the Nazi conquest of the East and the American conquest of the West.
