The Routledge Handbook to Music under German Occupation, 1938-1945 : Propaganda, Myth and Reality /

Table of Contents: “…Introduction: the foundations of Nazi musical imperialism David Fanning and Erik Levi Section 1 Musical life, resistance and destruction in occupied European capitals 1 Composers as critics in occupied Paris Nigel Simeone 2 The Conservatoire in occupied Kiev (19 September 1941 to 6 November 1943) Elena Zinkevych, Translated by Michelle Assay 3 Nazi musical imperialism in occupied Poland Katarzyna Naliwajek 4 Music and musical life in occupied Athens Alexandros Charkiolakis Section 2 Adaptation and opportunism 5 The Rome-Berlin Axis: musical interactions between Fascist Italy and Nazi Germany in redrawing a 'New Order for European Culture'Erik Levi6 In search of a musical identity in the Nazi-occupied Netherlands Dario van Gammeren 7 Symphonic music in occupied Belgium (1940-1944): the role of 'German-friendly' music societies Eric Derom 8 Music, culture and the Church in the German-occupied USSR: the Smolensk area and other provinces Svetlana ZverevaSection 3 Appropriations and reputations 9 Celebrating a Mozart anniversary in occupied Belgium: the Mozart Herdenking in Vlaanderen (1942) Marie-Helene Benoit-Otis and Cecile Quesney 10 The ambiguous reception of Antonin Dvořak's music during the Reichsprotektorat Bohmen und Mahren (The Protectorate of Bohemia and Moravia), 1939-1945 Kateřina Nova, Translated by Štěpan Kaňa11 Celebrating the Nordic tone -- fighting for national legacy: the Grieg Centenary, 1943 Michael Custodis & Arnulf MattesSection 4 Between two evils 12 The song collector, the year of terrors and the catastrophe that followed: a life in occupied Latvia Kevin C. …”
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