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|Material Type:||Internet resource|
|Document Type:||Book, Internet Resource|
|All Authors / Contributors:||
Michael H Kater
|Awards:||Canadian Historical Society-Societe Historique du Canada Wallace K. Ferguson Prize, 1998.|
|Description:||xv, 327 p. ; 24 cm.|
|Contents:||1. National Socialism, the Third Reich, and the Music Scene --
2. Musical Professionalism and Political Compromise --
3. Persecuted and Exiled Jewish and Anti-Nazi Musicians --
4. Music in the Institutions --
5. Dissonance and Deviance.
|Responsibility:||Michael H. Kater.|
renowned composer - are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Who collaborated? And to what extent? Who was persecuted, and to what effect? Along the way, Kater manages to debunk, authoritatively, old arguments and expose collaborators - notably Elisabeth Schwarzkopf. This major opera diva of the 1950s and 60s, who has for years adamantly denied her affiliation.
to the Nazi party, is shown to have ingratiated herself with the Nazi rulers. More widely, Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through its manipulation of musicians and German music.
adds much to our understanding of culture in totalitarian regimes.
- Music -- Germany -- 20th century -- History and criticism.
- National socialism and music.
- Music and state -- Germany -- History -- 20th century.
- Musique -- Allemagne -- 20e siècle -- Histoire et critique.
- Nazisme et musique.
- Musique -- Politique gouvernementale -- Allemagne -- Histoire -- 20e siècle.
- Derde Rijk.
- Drittes Reich