MUSIC IN THE KAUNAS GHETTO AGAINST THE BACKGROUND OF VILIJAMPOLĖ (SLABODKA) HISTORY Danutė Petrauskaitė Sources of Information on the Kaunas Ghetto and its Musical Life (original) (raw)
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The Presence of Jewish Music in the Musical Life of Interwar Prague
„Kwartalnik Młodych Muzykologów UJ”, 2017
The interbellum was a period when the spontaneous popularity of Jewish music was born. Its expansion in the area of general culture coincided with the rise of a strong institutional and media backing for the musical activities (which means that this music had to have a market value), and on the other hand—with the revival of the national Jewish movement in its various ideological forms, all of which acknowledged a significant role for fostering their own culture. At that time, Prague was the third most important (after Vienna and Berlin) center of Jewish culture in Central Europe, and it strongly influenced the neighboring centers such as Bratislava, Budapest, or—the closest to the author of this abstract—Warsaw. In this paper, various aspects of the Jewish music’s presence in the general musical life of the interwar Prague are being discussed, namely: the open musical activity of Jewish organizations and synagogues, Jewish instrumental and choral music, as well as Jewish songs (synagogal, folk and artistic) performed in the concert halls of Prague, the activity of the group of young Jewish composers (among others: Walter Süskind, Mieczysław Kolinski, Berthold Kobias, Hermann Weiss and Frank Pollak) who formed the so-called “New Jewish School” in music, and finally, writing about Jewish music.
Music During the Great War in Slovenia
Musicological Annual, 2017
The contribution is a survey of music as a social practice on the territory of today’s Slovenia during the Great War. It addresses the Slovenian music culture during the Great War from three complementary perspectives. Firstly, it gives a glimpse of the musical practice in Ljubljana, where, beside the entertaining music practice, subscription concerts were offered as well. The second section, the most elaborated one, focuses on the Slovenian music production connected to the Great War in two respects: on the music for (and about) it, as well as on the musical practice based on the events of the period that is considered, by many, to be odious. It offers a taste of the musical culture in Slovenia during the Great War and of the repertories of music pertaining to soldiery, concentrating on one in-depth analytical fragment of the song Tam na karpatskoj gori (Prošnja umirajočega junaka). Thirdly, the last section is devoted to the reception of the music connected to the Great War in Slo...
Exile from the “Music Paradise”: Musicians in Occupied Belgrade 1941–1944
Прометеј 021: Од агона до прогона. Сеобе од антике до данас/Prometheus 021: From Agon to Exile, Migrations from Antiquity to the Present Days, edited by Snežana Vukadinović, Svetozar Boškov i Aleksandra Smirnov-Brkić. Novi Sad: Faculty of Philosophy ISBN 978-86-6065-838-0 , 2024
The chapter is focused on the status of musicians during the German occupation of Belgrade in World War II. The main goal of this chapter is to promote a more philosophical understanding of the issue of music in the occupied territories in WWII. With that goal, the author used two concepts: ‘music heaven’ and ‘anti-utopia’. By focusing on the concept of imaginary ‘music heaven’, the author intended to grasp the idealistic nature of Nazi ideology in the Third Reich but also in the occupied territories. In line with that, through the context of symbolic ‘music paradise’, the author analyzed several groups of musicians. Most important attention were focused on musicians who were exiled and persecuted – Jews and Roma. Motivated by Milan Ristović and his use of ‘rural anti-utopia’, the author of this chapter develops understanding of music in society through the concept of ‘anti-utopia’. The chapter is based on extended archival and periodical research in the State Archives of Serbia, the Archives of Yugoslavia, and National Library of Serbia. Finally, this chapter resulted as continuation of research about the position of musicians during the Nazi rule in Europe and Jewish musicians in Belgrade which were topics of doctoral dissertation and the latest book published by this author.
Urednici / Editors: Gorana Doliner †, Stanislav Tuksar, Hrvoje Beban, Tatjana Čunko, 2022
Ovaj je svečani zbornik nastao u povodu 70. rođendana istaknute hrvatske muzikologinje dr. Sanje Majer-Bobetko, koja je najveći dio svojega radnog vijeka provela kao istraživačica na području historijske muzikologije u Odsjeku za povijest hrvatske glazbe HAZU. S. Majer-Bobetko je tijekom svoje plodne znanstveničke karijere ostvarila niz domaćih i međunarodnih kontakata s brojnim kolegama, što ovaj svečani zbornik profilom svojih radova zorno pokazuje. Niz od 36 autora u ovom zborniku, iz Hrvatske, Bosne i Hercegovine, Bugarske, Francuske, Irske, SAD-a i Slovenije, rado se odazvalo pozivu za suradnju u znak priznanja i poštovanja slavljeničine znanstvene djelatnosti, napisavši 33 priloga koji se ovdje objavljuju na hrvatskom, engleskom, njemačkom i francuskom jeziku. Sadržajno vrlo širok spektar obrađenih tema artikuliran je u šest tematskih cjelina vezanih uz glazbene izvore, obradu arhivske građe, historiografske analize, sinteze stilova, prikaze djelovanja pojedinih autora (skladatelja, istraživača) i/ili njihovih ostvarenja, u rasponu od srednjega vijeka do 21. stoljeća. Zbornik završava životopisom i bibliografijom slavljenice, uz uobičajeni popis imena. This collection of essays in honour of Dr Sanja Majer-Bobetko, the outstanding Croatian musicologist, is published on the occasion of her 70th birthday by the Croatian Musicological Society and the Department for History of Croatian Music of the Institute for History of Croatian literature, theatre and music of the Croatian Academy of Sciences and Arts. Majer-Bobetko has developed a series of domestic and international contacts with numerous colleagues, which is reflected in the contents of this collection. Thirty-six authors from Croatia, Bosnia & Herzegovina, Bulgaria, France, Ireland, Slovenia and the USA enthusiastically responded to the invitation to participate and to pay homage to Dr Majer-Bobetko’s scholarly activity, writing the thirty-three essays published here in Croatian, English, French and German. A very rich spectrum of topics is articulated in six thematic units which cover musical sources, the elaboration of archival materials, historiographical analyses, syntheses of styles, and the presentation of activities by individual composers and researchers, and/or their achievements covering a wide historical range from the Middle Ages to the twenty-first century. The collection ends with the biography and bibliography of the volume’s dedicatee, and the usual list of names.
Kwartalnik Młodych Muzykologów UJ, 2017
The article discusses the issue of Jewish musicians’ identity by the example of prewar Galician artists. It emphasizes the role of social and political divisions within Jewish community and the impact of assimilation, liberalism, socialism and Zionism on the musical life of Jews in Galicia. Then, it discusses their influence on individual musicians like: Bronisław Gimpel, Bronisław Huberman, Józef Koffler, Stanisław Lipski, Wilhelm Mantel, Paweł Anhalt, Stefan Schleichkorn, Henryk Guensberg, Józef Neger, Henryk Apte, Izaak Lust, Zofia Lissa, Mordechaj Gebirtig, Nachum Sternheim and musicians active on the stage of popular music. Its aim is to encourage musicologists to reconsider the issue of prewar Jewish musicians’ identity and to use findings of historians and sociologists in musicological literature. They indicate rather complexity, not unilaterality, of the self-identification of Jews in diaspora. Understanding of the Jewish musicians’ work conditions allows to discover the hidden meaning of their actions.
Music as an expression of Jewishness in contemporary Poland
Deleted Journal, 2023
Over half a century after the Holocaust, in Eastern European countries where the Jewish community remained only a small part of the population, products of Jewish culture (or what is perceived as Jewish culture), including music, have become vital components of the popular public domain. In Poland, there are festivals and concerts of Jewish music, more and more records with this music, Jewish museums, and renovated Jewish districts, with Jewish cuisine, and music that are offered to tourists visiting Poland as the main attractions. They attract enthusiastic-and often non-Jewishcrowds. I consider how non-Jews involved in this movement in Poland perceive and implement Jewish culture, why they do it, how much it involves the recovery of Jewish heritage, and how this represents the musical culture of Jews in museums and at events organized for tourists. I also consider the relation of non-Jews as a majority group to Jews as a minority group, as well as the impact of the musical actions of the former on the musical culture of the latter. The article is based on field research and observations I have made during more than twenty years, both among the remaining Jews in Poland and in mixed or non-Jewish communities where music perceived as Jewish is promoted.
Musicological Annual, 2016
The paper provides a concise insight into the activity of Slovenian musicians residing in Sarajevo during the Austro-Hungarian administration. Besides the Slovenian musicians’ activities at the collective level, the paper discusses their individual endeavours and also endeavours from perspective of guest artists. Guest Slovenian artists such as Slovenian opera, was one of the most renowned ensemble that visited Austro-Hungarian Bosnia and Herzegovina.
The composition of the population has changed significantly in the city of Klaipėda and throughout all the Klaipėda region at the end of the Second World War. The city was completely destroyed, the remaining native inhabitants quickly left for the West. The then Soviet authorities in the 1950s-1960s in a deserted city created favorable social conditions for volunteers who came from other regions of Lithuania and from the entire Soviet Union to Klaipėda to restore the port and the entire marine industry. So at that time shoulder to shoulder in Klaipėda worked representatives of about 70 peoples and nationalities. Many of them stayed here for the rest of their lives. Moreover, at the beginning of the 21st century, state borders opened up in independent Lithuania, new flows of emigration and immigration emerged. The multi-layered and multicultural society has started to form, and national communities are being created and officially registered. What is the national composition of the inhabitants of modern Klaipeda at the beginning of the 21st century? In 1990 – 2000s, there were founded 1 Belarusian, 1 Polish, 3 Russian, and 3 Ukrainian national societies, together with Azerbaijani, Latvian, German, Jewish, Tatar and Armenian ones. How often do they intend to communicate with each other? Do Slavic immigrants of different times, their children and grandchildren preserve their national roots? Do they remember their native speech, rites, song and verbal folklore, their traditional dances and instrumental music? The results of such studies will be presented in this paper.