The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. / Frank, Mirjam.

The Routledge Handbook to Music under German Occupation, 1933-45. ed. / Erik Levi; David Fanning. London : Routledge, 2019.

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. / Frank, Mirjam.

The Routledge Handbook to Music under German Occupation, 1933-45. ed. / Erik Levi; David Fanning. London : Routledge, 2019.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Frank, M 2019, The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. in E Levi & D Fanning (eds), The Routledge Handbook to Music under German Occupation, 1933-45. Routledge, London.

APA

Frank, M. (2019). The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. In E. Levi, & D. Fanning (Eds.), The Routledge Handbook to Music under German Occupation, 1933-45 Routledge.

Vancouver

Frank M. The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. In Levi E, Fanning D, editors, The Routledge Handbook to Music under German Occupation, 1933-45. London: Routledge. 2019

Author

Frank, Mirjam. / The marketing of backstories: approaches to the legacies of music composed in fraught circumstances. The Routledge Handbook to Music under German Occupation, 1933-45. editor / Erik Levi ; David Fanning. London : Routledge, 2019.

BibTeX

@inbook{d19cc13bed7c4127b33e86e435aa1764,
title = "The marketing of backstories: approaches to the legacies of music composed in fraught circumstances",
abstract = "The ways in which music composed in concentration camps is marketed for present-day audiences offers much food for thought. In many instances, contemporary memorials dedicated to promoting such repertory all too often fall back on strategies that are not that dissimilar from the very propaganda methods they aim to unmask. Eyewitness testimonials, for example, are used to illustrate stories behind a composition, often to underline the emotional weight of the composer{\textquoteright}s tragic background, rather than to initiate a thoughtful engagement with the music. The aim of this chapter is to encourage a more critical understanding of repertory composed under fraught circumstances. To this end, a discussion of aspects of the 1944 Nazi propaganda film on Terez{\'i}n is juxtaposed with the relatively recent documentary, The Maestro: in Search of the Last Music (2017).",
author = "Mirjam Frank",
year = "2019",
month = dec,
language = "English",
editor = "Erik Levi and David Fanning",
booktitle = "The Routledge Handbook to Music under German Occupation, 1933-45",
publisher = "Routledge",

}

RIS

TY - CHAP

T1 - The marketing of backstories: approaches to the legacies of music composed in fraught circumstances

AU - Frank, Mirjam

PY - 2019/12

Y1 - 2019/12

N2 - The ways in which music composed in concentration camps is marketed for present-day audiences offers much food for thought. In many instances, contemporary memorials dedicated to promoting such repertory all too often fall back on strategies that are not that dissimilar from the very propaganda methods they aim to unmask. Eyewitness testimonials, for example, are used to illustrate stories behind a composition, often to underline the emotional weight of the composer’s tragic background, rather than to initiate a thoughtful engagement with the music. The aim of this chapter is to encourage a more critical understanding of repertory composed under fraught circumstances. To this end, a discussion of aspects of the 1944 Nazi propaganda film on Terezín is juxtaposed with the relatively recent documentary, The Maestro: in Search of the Last Music (2017).

AB - The ways in which music composed in concentration camps is marketed for present-day audiences offers much food for thought. In many instances, contemporary memorials dedicated to promoting such repertory all too often fall back on strategies that are not that dissimilar from the very propaganda methods they aim to unmask. Eyewitness testimonials, for example, are used to illustrate stories behind a composition, often to underline the emotional weight of the composer’s tragic background, rather than to initiate a thoughtful engagement with the music. The aim of this chapter is to encourage a more critical understanding of repertory composed under fraught circumstances. To this end, a discussion of aspects of the 1944 Nazi propaganda film on Terezín is juxtaposed with the relatively recent documentary, The Maestro: in Search of the Last Music (2017).

M3 - Chapter

BT - The Routledge Handbook to Music under German Occupation, 1933-45

A2 - Levi, Erik

A2 - Fanning, David

PB - Routledge

CY - London

ER -