Musical Witness and Holocaust RepresentationThis is the first musicological study entirely devoted to a comprehensive analysis of musical Holocaust representations in the Western art music tradition. Through a series of chronological case studies grounded in primary source analysis, Amy Lynn Wlodarski analyses the compositional processes and conceptual frameworks that provide key pieces with their unique representational structures and critical receptions. The study examines works composed in a variety of musical languages - from Arnold Schoenberg's dodecaphonic A Survivor from Warsaw to Steve Reich's minimalist Different Trains - and situates them within interdisciplinary discussions about the aesthetics and ethics of artistic witness. At the heart of this book are important questions about how music interacts with language and history; memory and trauma; and politics and mourning. Wlodarski's detailed musical and cultural analyses provide new models for the assessment of the genre, illustrating the benefits and consequences of musical Holocaust representation in the second half of the twentieth century. |
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Adorno aesthetic anti-Semitism antifascist appears archival argues Arnold Schoenberg artistic audience augmented triad Auschwitz Brecht Calico cantata Cayrol’s Cherlin cited composer composer’s composition concept contends context create critical critique cultural Czernowin describes Dessau Different Trains documentary East German emotional Erkennen essay event excerpts experience fascism film film’s Fortunoff genocide genre Hanns Eisler hexachord historical Holocaust representation Holocaust survivors Holocaust Testimony Ibid images imagination interpretive interview Jewish Question Jews Jüdische Chronik Karl Amadeus Hartmann Kristallnacht libretto listener material montage motives movement musical idea Musik narrative narrator Nazi notes Nuit et Brouillard œ œ œ Paul’s performance phrase piece Pnima political post-Holocaust postmemorial postwar premiere Rachel Rachella Reprinted by permission Resnais Resnais’s rhetoric Riefenstahl’s scene Schoenberg’s A Survivor score secondary witness Shema Yisroel specific speech melody Steve Reich structure Survivor from Warsaw techniques textual tonal twelve-tone twelve-tone technique ultimately viewer visual voice Warsaw Ghetto Wiedererkennen work’s