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The twisted muse : musicians and their music in the Third Reich

Author: Michael H Kater
Publisher: New York : Oxford University Press, 1997.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small - from
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Genre/Form: Criticism, interpretation, etc
History
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Michael H Kater
ISBN: 0195096207 9780195096200
OCLC Number: 34281264
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.
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Abstract:

Michael Kater's work probes the relationship of music with society and politics in the Nazi system, 1933-1945. It addresses the question whether the Nazi regime, which utilized music and musicians  Read more...

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The merit of the book lies in its detailed factual picture of the background for music and musicians in those troubled times. Ralph F. Wells, Richard Strauss Society A very readable and intriguing Read more...

 
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schema:name"Music--Germany--20th century--History and criticism."@en
schema:awards"Canadian Historical Society-Societe Historique du Canada Wallace K. Ferguson Prize, 1998."
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schema:description"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."@en
schema:description"Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small - from Valentin Grimm, a struggling clarinetist, to Richard Strauss,"@en
schema:description"adds much to our understanding of culture in totalitarian regimes."@en
schema:description"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."@en
schema:description"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."@en
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