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Composers of the Nazi EraEight Portraits$
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Michael H. Kater

Print publication date: 2000

Print ISBN-13: 9780195099249

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195099249.001.0001

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Conclusion Composers in the Postwar Era Until the 1960s

Conclusion Composers in the Postwar Era Until the 1960s

Chapter:
(p.264) 9 Conclusion Composers in the Postwar Era Until the 1960s
Source:
Composers of the Nazi Era
Author(s):

Michael H. Kater (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195099249.003.0009

This chapter begins by discussing the reasons for studying the interrelationship between sociopolitical forces on one side and music and musicians on the other. It then enumerates several important themes discussed in this book. It mentions the comparability of the composers studied in this book. It also examines some of the historic ironies encountered in writing up and analyzing their biographies. It clarifies why the eight composers reacted to the allures and pressures of their times in characteristically distinctive ways. It discusses the importance of concept “To uphold German music was divine duty, to neglect it was a crime” in explaining several phenomena encountered in this book. It describes that the culture in Germany was by no means prostrate after their surrender to the allies. It explains that composers and performers were not really denazified, at least not effectively for some of them did not understand what that was all about.

Keywords:   sociopolitical forces, music, composer, biography, Germany, allies, denazification, postwar Germany

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