How can music withstand the death and destruction brought on by war? Global conflicts of the 20th century fundamentally transformed not only national boundaries, power relations, and global economies, but also the arts and culture of every nation involved. An important, unacknowledged aspect of these conflicts is that they have unique musical soundtracks. Music in World War II explores how music and sound took on radically different dimensions in the United States and Europe before, during, and after World War II. Additionally, the collection examines the impact of radio and film as the disseminators of the war's musical soundtrack. Contributors contend that the European and American soundtrack of World War II was largely one of escapism rather than the lofty, solemn, heroic, and celebratory mode of "war music" in the past. Furthermore, they explore the variety of experiences of populations forced from their homes and interned in civilian and POW camps in Europe and the United States, examining how music in these environments played a crucial role in maintaining ties to an idealized "home" and constructing politicized notions of national and ethnic identity. This fascinating and well-constructed volume of essays builds understanding of the role and importance of music during periods of conflict and highlights the unique aspects of music during World War II.

How can music withstand the death and destruction brought on by war? Global conflicts of the 20th century fundamentally transformed not only national boundaries, power relations, and global economies, but also the arts and culture of every nation involved. An important, unacknowledged aspect of these conflicts is that they have unique musical soundtracks. Music in World War II explores how music and sound took on radically different dimensions in the United States and Europe before, during, and after World War II. Additionally, the collection examines the impact of radio and film as the disseminators of the war's musical soundtrack. Contributors contend that the European and American soundtrack of World War II was largely one of escapism rather than the lofty, solemn, heroic, and celebratory mode of "war music" in the past. Furthermore, they explore the variety of experiences of populations forced from their homes and interned in civilian and POW camps in Europe and the United States, examining how music in these environments played a crucial role in maintaining ties to an idealized "home" and constructing politicized notions of national and ethnic identity. This fascinating and well-constructed volume of essays builds understanding of the role and importance of music during periods of conflict and highlights the unique aspects of music during World War II.

This provocative study asks why we have held on to vivid images of the Nazis' total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other "enemies of the state" was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.

This important book investigates the role played by German musicology in buttressing Nazi institutions and ideology. Pamela Potter examines the social, economic, and intellectual factors that caused some German musical scholars to support with such fervor the ideological aims of the Nazis. She argues convincingly that many of the ideas that served the regime not only predated Hitler's rise to power but survived the Nazi period to influence the conception of music history-including that of American musical scholarship-down to the present time. Potter reveals that prominent German musicologists went beyond other scholars in serving the state by publicizing the German musical legacy as a source of national pride; exploring politically relevant research topics, including pseudo-scientific race theories; and participating in the Germanization of occupied and annexed territories during World War II. Nazi leaders recognized musicology's potential service to Nazi causes, says Potter, and musicological ventures enjoyed generous support from the government, party, and SS. Scrutinizing private papers, archives, and rare publications, Potter breaks the silence imposed by the postwar German musicological establishment and demonstrates the extent to which the entire profession was politicized during the Nazi era.