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 H. Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Kater examines the value of music for the Nazi regime and the degree to which the regime attained a positive propaganda and palliative ...
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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 H. Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Kater examines the value of music for the Nazi regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music. This work will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture, and ideology.
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