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Relevant bibliographies by topics / Antisemitism in music

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Academic literature on the topic 'Antisemitism in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Antisemitism in music"

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Tejeda Barros, Antonia. "Stravinsky's Poétique musicale: The Composer as Homo faber. Antisemitism, Le Sacre du printemps, and Adorno's Critique." Arte, entre paréntesis 1, no. 18 (June 29, 2024): 18–33. http://dx.doi.org/10.36797/aep.v1i18.127.

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ABSTRACT: Stravinsky considered himself a maker, a Homo faber, an artisan of the past. He confessed that he liked to compose music more than music itself, and argued that expression was not an immanent character of music. With this paper, I intend to discuss Stravinsky's musical aesthetics (the Charles Eliot Norton Lectures given right after the outbreak of WWII –Poétique musicale), depicting and criticising his notion of expression and his view of the musician as mere “executant”. I will also point out some biographical details (the controversial premiere of Le Sacre du printemps and Stravinsky's antisemitism) while criticising Adorno's harsh critique of Stravinsky's music.

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Possener, Adam. "Uri Agnon, Antisemitism: a (((musical))). Camden People's Theatre, London." Tempo 78, no. 308 (April 2024): 91–92. http://dx.doi.org/10.1017/s0040298223001109.

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Loeffler. "Richard Wagner's “Jewish Music”: Antisemitism and Aesthetics in Modern Jewish Culture." Jewish Social Studies 15, no. 2 (2009): 2. http://dx.doi.org/10.2979/jss.2009.15.2.2.

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Reichard, Tobias. "Verfolgungsinstrument Schwarze Liste." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (November 25, 2020): 114–33. http://dx.doi.org/10.1515/qufiab-2020-0010.

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AbstractThe article investigates the importance of ‚blacklists‘ as a tool of Fascist and National Socialist racial policy in the field of music. It critically examines the radicalizing effects that National Socialist antisemitism exerted on Fascist racial policy, which has often been described as yielding to German pressure. In fact, Fascist leaders demonstrated their will to cooperate on the ‚Jewish question‘ very early, though Fascist antisemitism never reached the exterminatory dimensions of the Nazi Holocaust. Already in 1936, cultural policymakers were working towards the goals of their German allies, taking initial steps to discriminate against Jewish musicians long before the Racial Laws were introduced in 1938. Various documents recently discovered in the historical archives of the Accademia Nazionale di Santa Cecilia in Rome also highlight the pivotal role of musical institutions and their rich documentation in the investigation of cultural policy under Fascist rule, especially since the vast majority of the official records belonging to central institutions like the Italian Propaganda Ministry must be considered lost.

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Kaufman, T. "Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halevy's "La Juive"." Opera Quarterly 20, no. 3 (July 1, 2004): 450–55. http://dx.doi.org/10.1093/oq/kbh063.

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Klautke, E. "Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siecle Vienna." German History 30, no. 4 (April 11, 2012): 608–10. http://dx.doi.org/10.1093/gerhis/ghs034.

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Brautbar, Shirli, Peter La Chapelle, and Jessica Hutchings. "The Valley of the Dry Bones." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 191–213. http://dx.doi.org/10.1525/jpms.2020.32.2.191.

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This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Shel Silverstein came to the fore and substantially reshaped country music, and a phase from the 1980s to early 2000s when an instrumental-focused klezmer-bluegrass fusionism was central to constructing a Jewish-country identity. A longer, final section explores the more recent, religiously-themed country and bluegrass of performers such as Mare Winningham, Nefesh Mountain, and Joe Buchanan, and argues that Jewish country and bluegrass has taken an important liturgical turn.

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Olin, Elinor. "A Review of: “Diana R. Hallman,Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halévy'sLa Juive”." Journal of Musicological Research 25, no. 3-4 (December 2006): 333–37. http://dx.doi.org/10.1080/01411890600843879.

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Ndoja, Davjola. "German National Socialist Black Metal: Contemporary Neo‑Nazism and the Ongoing Struggle with Antisemitism." History of Communism in Europe 10 (2019): 169–89. http://dx.doi.org/10.5840/hce2019108.

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This paper is an exploration of the ideology of National Socialism in the work and activity of the German terrorist group and Black Metal band Absurd. Historians are divided—and many have criticized how postwar Germany dealt with denazification—, but the fact is that Nazi ideology has been part of the political and social spheres in Germany since then. Neo‑Nazism saw a revival especially in the first years after unification, which coincided with the beginning of Absurd’s story and career. Today, they hold the title of the National Socialist Black Metal act par excellence, with a 28‑year music career actively supporting and promoting Nazi ideology. Absurd makes a very interesting case study, since the band has played a key role in preserving and transmitting Nazi ideology, not just in Germany, but also worldwide.

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Moricz, Klára. "Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna (review)." Notes 68, no. 2 (2011): 359–61. http://dx.doi.org/10.1353/not.2011.0137.

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Dissertations / Theses on the topic "Antisemitism in music"

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Silbert, Ariel. "Late 19th century German-Jewish Korperkultur and its philosophical and aesthetic sources." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23320.

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Siddiqui, Tashmeen Monique. "Jews against Wagner : the 1929 Krolloper production of Wagner's Der fliegende Holländer." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669985.

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Hedin, Martin. "En studie av antisemitismen i texterna hos tre vit makt-band." Thesis, Högskolan Dalarna, Samhällskunskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1218.

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Denna uppsats handlar om förekomsten av Antisemitism i den svenska s.k. Vit makt-musiken. Uppsatsens syfte är att kartlägga förekomsten av antisemitism i tre vit makt- band: Pluton Svea, Storm och Dirlewanger. Analysen sker genom att texterna till två album av varje band studeras. Metoden är både kvalitativ som kvantitativ och bland annat så undersöks olika typer av antisemitiska uttalanden som därefter nivåsätts enligt en, av författaren, modifierad skala konstruerad av forskaren John C.G. Röhl. Resultatet av denna undersökning visar att antisemitism är ständigt närvarande i denna musikstil. Dock tar den sig olika uttryck beroende på vilket band det gäller. I de album som är producerade under 2000-talet tycks även en viss nedtoning av den våldsammaste formen av antisemitism kunna ses.

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Cvachovcová, Klára. "Pravda vítězí 1938 protičeskoslovenské vysílání vídeňského rozhlasu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350555.

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This thesis concentrates on 1938 radio broadcast Pravda vítězí (The Truth Will Win), broadcasted from Vienna in both Czech and Slovak languages in the two months preceding and following the signing of the Munich agreement. Its theoretical part follows the genesis of the two broadcasts, the personalities involved and also the connection between Pravda vítězí and Vlajka, the infamous Czech fascist movement. In the practical part, Nazi propaganda themes are being analyzed in both broadcasts during October 1938. Main focus is on the campaigns against president Beneš, against freemasonry and bolshevism, pro-German campaign and antisemitism. In the Slovak language broadcast, anti-Czech campaign was a significant part of the Nazi propaganda, along with the support of Slovak separatism. Comparison of the ideological focus and goals of both broadcasts is supported by numerous quotations. In the final part, the thesis offers a brief look at the reactions to the broadcasts. Also, it attempts to evaluate the broadcasts' possible effects on both Czech and Slovak audience in the light of its primary goal - the disintegration of Czechoslovakia.

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Books on the topic "Antisemitism in music"

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Fischer, Jens Malte. Richard Wagners "Das Judentum in der Musik": Eine kritische Dokumentation als Beitrag zur Geschichte des Antisemitismus. Frankfurt: Insel, 2000.

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Schmidt, Alexander. Braune Brüder im Geiste?: Volk und Rasse bei Wagner und Hitler : ein kritischer Schrift-Vergleich. Marburg: Tectum Verlag, 2007.

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Ensemble, ARC, and Royal Conservatory of Music, eds. Music in exile. Toronto: Royal Conservatory of Music, 2006.

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Büchner, Timo. "Weltbürgertum statt Vaterland": Antisemitismus im RechtsRock. Münster: Edition Assemblage, 2018.

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5

Weiner, Marc A. Richard Wagner and the anti-Semitic imagination. Lincoln: University of Nebraska Press, 1997.

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Weiner, Marc A. Richard Wagner and the anti-Semitic imagination. Lincoln: University of Nebraska Press, 1995.

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7

Richard, Wagner. Evreĭstvo v muzyke. Moskva: Russkai͡a Pravda, 2009.

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8

1813-1883, Wagner Richard, ed. Wagner contre les Juifs: Aux origines de l'antisémitisme culturel moderne. Paris: Berg, 2012.

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9

Jüdisches Museum der Stadt Wien. Euphorie und Unbehagen: Das jüdische Wien und Richard Wagner. Wien: Jüdisches Museum Wien, 2013.

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Jürgens, Birgit. Deutsche Musik: Das Verhältnis von Ästhetik und Politik bei Hans Pfitzner. Hildesheim: Olms, 2009.

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Book chapters on the topic "Antisemitism in music"

1

Scheding, Florian. "‘A State of Crass Ideological Confusion’: Avant-Garde Music and Antisemitism in the Free German League of Culture." In Music and Exile, 94–112. BRILL, 2023. http://dx.doi.org/10.1163/9789004544109_007.

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"Das Judentum in der Musik." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 65–84. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-12.

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"Introduction: “Mahlers Metamorphosen”." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 17–30. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-10.

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"Die Bildnisse von Gustav Mahler." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 31–64. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-11.

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"Die Wiener Kritiker." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 85–126. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-13.

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"Das Problem Richard Strauss." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 127–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-14.

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"Eine musikalische Physiognomik." In Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna, 175–84. Routledge, 2016. http://dx.doi.org/10.4324/9781315608181-15.

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Marissen, Michael. "Lutheranism, Anti-Judaism, and Bach’s St. John Passion." In Lutheranism, Anti-Judaism, and Bach’s St. John Passion, 3–36. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195114713.003.0001.

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Abstract Although the bibliographies on Bach and on Judaica have grown enormously since World War II, there has been very little work on relationships between these two areas. It is not difficult to account for this. History, religion, and sociology scholars who focus on issues of antisemitism often lack musical training and are, in any event, quite reasonably interested in even more pressing social and political manifestations. Bach scholars, on the other hand, have largely pursued more narrowly musical topics such as notation, form, style, attribution, and chronology. A small branch has concerned itself with Bach and Lutheran theology, but its practitioners have generally centered on the librettos without paying much attention to the ways that the words are set musically. Strangely, almost no scholarly attention has been given to relationships between Lutheranism and the religion of Judaism as they affect Bach’s most problematic work in this respect, the St. John Passion. The only studies are in German, and, although each makes far-reaching observations about Luther, none of them adequately engages Bach’s music. Luther’s scathingly polemic writings are fairly well known today. Because Bach’s indebtedness to Luther has come to be more widely acknowledged, listeners can easily assume that Bach harbored hostility to Jews and, accordingly, that his music probably projects such hostility. Many other listeners, however, believe Bach produced great music which transcends any sort of verbally specifiable meaning. Interpretive Bach research might reasonably be expected to have engaged these difficult issues more fully by now.

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Schubert, Katharina. "»Eine christliche Alternative«? Über den Transfer von Musik und die Modifikation religiöser Inhalte im christlichen Heavy Metal." In Zwischen Germanomanie und Antisemitismus, 183–204. Nomos Verlagsgesellschaft mbH & Co. KG, 2016. http://dx.doi.org/10.5771/9783845253800-183.

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"Das 'Judentum in der Musik'. Kontinuität einer Debatte." In Judentum, Antisemitismus und deutschsprachige Literatur vom Ersten Weltkrieg bis 1933/1938, 227–50. Max Niemeyer Verlag, 1993. http://dx.doi.org/10.1515/9783110921090.227.

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