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Amy Lynn Wlodarski , Musical Witness and Holocaust Representation (Cambridge: Cambridge University Press, 2015), ISBN 978-1-10711-647-4 (hb).

Published online by Cambridge University Press:  25 July 2017

ABBY ANDERTON
ABBY ANDERTON*
Affiliation:
Abby.Anderton@baruch.cuny.edu
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Information
Twentieth-Century Music , Volume 14 , Issue 2 , June 2017 , pp. 345 - 350
Copyright
Copyright © Cambridge University Press, 2017 

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References

1 For recent examples of work in musicology concerning post-war witness and the Holocaust, see Cizmic, Maria, Performing Pain: Music and Trauma in Eastern Europe (Oxford: Oxford University Press, 2012)Google Scholar; and Calico, Joy, Arnold Schoenberg's ‘A Survivor from Warsaw’ in Postwar Europe (Berkeley: University of California Press, 2014)Google Scholar.

2 Adorno, Theodor W., ‘On the Contemporary Relationship of Philosophy and Music’, in Essays on Music, ed. Leppert, Richard (Berkeley: University of California Press, 2002), 49 Google Scholar, quoted in Wlodarski, Musical Witness, 40; Adorno, , ‘Commitment’, in Can One Live after Auschwitz? A Philosophical Reader, ed. Tiedemann, Rolf, trans. Livingstone, Rodney and Others (Stanford: Stanford University Press, 2003), 252 Google Scholar, quoted in Wlodarski, Musical Witness, 52.

3 Monaco, James, Alain Resnais: The Role of Imagination (London: Secker & Warburg, 1978), 20 Google Scholar, quoted in Wlodarski, Musical Witness, 58.

4 Berthold Hoeckner, ‘The Morality of Audiovisual Memory’, paper given at the American Musicological Society, Houston, TX, 2003, quoted in Wlodarski, Musical Witness, 60.

5 Calico, Joy, ‘ Jüdische Chronik, The Third Space of Commemoration between East and West Germany’, The Musical Quarterly 88/1 (2005), 97 CrossRefGoogle Scholar, quoted in Wlodarski, Musical Witness, 92.