Oxford University Press. Very Good. Very Good. Ship within 24hrs. Satisfaction 100% guaranteed. APO/FPO addresses supported Oxford University Press ISBN 0195132424 9780195132427 [US]

Oxford University Press, USA, Date: 1999-04-22. Paperback. Used: Good. 1999. Oxford University Press, USA ISBN 0195132424 9780195132427 [US]

Paperback. Very Good. ISBN 0195132424 9780195132427 [GB]

ISBN10: 0195132424, ISBN13: 9780195132427, [publisher: Oxford University Press] Softcover Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.
[Berlin, Germany] [Publication Year: 1999]

Paperback / softback. New. Under a totalitarian regime, can art and artists be innocent? This questions and its implications are explored in Michael Kater's broad survey of musicians, and the music they composed and performed during the Third Reich. ISBN 0195132424 9780195132427 [GB]

New York: Oxford University Press, Date: 1999. Paperback. Very Good. 327p. A softcover book in very good condition. Faint water spots on the spine, and small patch of sticker residue on back cover. Otherwise clean and tight. 1999. Oxford University Press ISBN 0195132424 9780195132427 [US]

ISBN10: 0195132424, ISBN13: 9780195132427, [publisher: Oxford University Press, USA, New York] Softcover Paperback. "[Kater's] account.is the most thorough and nuanced now available of Nazi musical alliances, allegiances, and ambiguities.Brings us to a more complicated understanding without tolerating latent defenses of old friends or "Vissi d'Arte alibis."--New York Times Book Review Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small—from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer—are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its ...
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