Abby anderton (19 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. pp. 198.

Zustand: New. In English.

Zustand: New. 2019. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 183 pages. 9.00x6.00x0.50 inches. In Stock.

23.5 x 16 cm. Hardcover, xii, 186 pages, Text in English, fine condition, see picture. 422g.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe.&Uumlber den Autor.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

Hardcover. Zustand: Brand New. 176 pages. 6.58x0.70x9.33 inches. In Stock.

Zustand: New. In English.

Taschenbuch. Zustand: Neu. Rubble Music | Occupying the Ruins of Postwar Berlin, 1945-1950 | Abby Anderton | Taschenbuch | Indiana University Press (IPS) | Einband - flex.(Paperback) | Englisch | 2019 | Indiana University Press | EAN 9780253042422 | Verantwortliche Person für die EU: Mare Nostrum Group B.V., Doelen 72, 4831 GR BREDA, NIEDERLANDE, gpsr[at]mare-nostrum[dot]co[dot]uk | Anbieter: preigu.…

Zustand: New. 2019. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Zustand: Brand New. 183 pages. 9.25x6.25x0.75 inches. In Stock.

Zustand: New. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe.&Uumlber den Autorrn.

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Englisch | Produktart: Bücher | As the seat of Hitler's government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.…

Buch. Zustand: Neu. Neuware - Many of the first Holocaust testimonies involved music. Yet despite the central role that music played in the traumatic aftermath of the Third Reich, it was not perceived as testimonial. Audible Testimonies: Surviving the Third Reich in Music and Media explores the early postwar sounds of survivor musicians in Germany, demonstrating that their compositions, recordings, and performances were forms of witnessing. Individuals persecuted by the Nazis, including Jewish Holocaust survivors, political prisoners, Communist resistance fighters, and members of the Black German community, intentionally documented their experiences with music. Whether the Terezín memory pieces of Erich Adler, Fasia Jansen's musical protests, or the Ex-Concentration Camp Orchestra's appearances in their striped uniforms, sounding testimonies gave musicians who survived the Third Reich a public, audible platform. Their stylistic choices were as varied as their experiences, heard in the jazz, folk, pop, and classical music they performed in displaced persons camps, the Nuremberg Opera House, and at the first Eurovision Song Contest. These eye- and earwitnesses shared a testimonial impulse to represent their trauma in sound: reclaiming repertoires banned under the Nazis, composing original works, and staging performances in former sites of Fascist terror. By considering these musics-united in time and place, but radically different in content-this book makes audible forgotten or decayed sources to construct a theory of musical testimony.…

Hardcover. Zustand: Brand New. 176 pages. 6.58x0.70x9.33 inches. In Stock.