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Sounds of Apocalypse: Music in Poland under German Occupation New edition [Kõva köide]

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  • Formaat: Hardback, 354 pages, kõrgus x laius: 210x148 mm, kaal: 526 g, 71 Illustrations
  • Sari: Eastern European Studies in Musicology 25
  • Ilmumisaeg: 28-Feb-2023
  • Kirjastus: Peter Lang AG
  • ISBN-10: 3631881703
  • ISBN-13: 9783631881705
Teised raamatud teemal:
Sounds of Apocalypse: Music in Poland under German Occupation New editionSuurem pilt
  • Formaat: Hardback, 354 pages, kõrgus x laius: 210x148 mm, kaal: 526 g, 71 Illustrations
  • Sari: Eastern European Studies in Musicology 25
  • Ilmumisaeg: 28-Feb-2023
  • Kirjastus: Peter Lang AG
  • ISBN-10: 3631881703
  • ISBN-13: 9783631881705
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9783631881705.html
Märksõnad:

An analysis of sources on music in occupied Poland confirms that access to music, proportionate to racial status, was used to divide the population and facilitate implementation of the Third Reich’s objectives. While Nazi songs and propaganda dehumanized prospective victims, clandestine music restored dignity and fostered resistance.



This investigation of Polish, Jewish, and German sources demonstrates the roles of music in occupied Poland. Its former citizens had their access to music controlled by the Nazi Ministry of Propaganda. It was rationed as other goods, depending on racial (i.e. also legal) status. Official music performances served as a propagandistic tool to further divide the Nazi-segregated population. Music played clandestinely embodied resistance. It restored the sense of community and helped save musicians persecuted as Jews, like Wladyslaw Szpilman. The documents analyzed in the monograph confirm the dehumanization of prospective victims, mixed with a narcissistic self-righteous view of Nazi songs and propaganda ultimately led to the organized presence of music in the Holocaust sites.

Introduction 11(44)
Silence versus sound memory
25(11)
State of research
36(8)
Methods, questions, and goals
44(11)
Chapter One Music as a manipulative tool in Nazi cultural and political domination
55(42)
1.1 Nazi propaganda of German cultural supremacy and racial hatred
55(9)
1.2 Racial pseudo-aesthetics as the ideological background of cultural policies
64(8)
1.3 Nazi administration and racial jurisdiction versus Polish culture
72(9)
1.4 Racial segregation and ghettoization
81(3)
1.5 Nazi propaganda towards different social and ethnic groups
84(3)
1.6 The appropriation of Chopin by the Nazi propaganda
87(10)
Chapter Two Musical life in the General Government and annexed territories
97(80)
2.1 Music in the General Government
99(43)
2.1.1 Germans for Germans
112(3)
2.1.2 Music by Poles for Poles
115(2)
2.1.3 Music by Jews for Jews: The Warsaw Ghetto
117(7)
2.1.4 Appropriation, destruction, genocide: Three facets of Nazi cultural policy in Krakow
124(3)
2.1.5 Control of the symbolic spaces
127(8)
2.1.6 Clandestine music as protest, resistance, and quest for freedom
135(7)
2.2 Music in Reich-annexed territories: Aufbau in the Warthegau
142(16)
2.3 Soundscape of occupied Poland in witnesses' testimonies
158(19)
2.3.1 Trauma-related sounds of violence
160(6)
2.3.2 Traumatic sound as creativity inception factor
166(2)
2.3.3 Sounds of being shot at
168(1)
2.3.4 Music as a tool of counteracting traumatic sounds
169(2)
2.3.5 Singing as method to counteract traumatic warfare sounds
171(1)
2.3.6 Imagined music: Musical memory as survival technique
172(2)
2.3.7 Sounds of the ruined city
174(3)
Chapter Three The functions of music within the Nazi system of genocide in occupied Poland
177(44)
3.1 Psychopathology of the ritual
179(4)
3.2 Music as torture and as deception
183(7)
3.3 Music and management in Treblinka
190(4)
3.4 Sadistic domination: forced music-making
194(5)
3.5 Music as entertainment for the guards
199(4)
3.6 The interrelationship of torture and music from a psychoanalytical perspective
203(2)
3.7 Mass Killings and the Sound of Music
205(4)
3.8 Music as self-defense, resistance, survival, and mourning
209(12)
Acknowledgments 221(4)
Epilogue 225(6)
List of abbreviations 231(1)
Bibliography 232(19)
Appendix 251(1)
Appendix to Introduction 251(10)
Appendix to
Chapter one		 261(5)
Appendix to 1.6 266(5)
Appendix to
Chapter two		 271(9)
Appendix to 2.1.1. Poles for Poles 280(3)
Propaganda through music for Poles as presented by the German media 283(2)
Appendix to 2.1.2. Germans for Germans 285(5)
Appendix to 2.1.3. Music by Jews for Jews 290(16)
Appendix to 2.1.6. Clandestine music as protest, resistance, and quest for freedom 306(7)
Appendix to 2.1.5. Control of the symbolic spaces 313(4)
Musicians killed during the German occupation of Poland - a few portraits 317(4)
Marian Neuteich 321(1)
Singer Helena Ostrowska 322(2)
Looted Chopin memorabilia from the collection of Leopold Binental (1886-1944), the Polish-Jewish chopinologist murdered by the Germans 324(4)
The Plunder of the Binental Collection 328(2)
List of items related to Chopin lost or stolen during the German occupation of Poland 330(2)
History of the Fryderyk Chopin Institute Collection 332(9)
Index of Names 341
Katarzyna Naliwajek, PhD, works at the Institute of Musicology, University of Warsaw, Poland. She has focused her research on music during the Nazi-Soviet occupation of Poland, Polish music in the 20th century, and connections between music and politics.