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Liederbücher im NationalsozialismusJung, Michael. January 1989 (has links)
Thesis (doctoral)--Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main, 1989. / Includes bibliographical references (p. 260-276), (v. 1).
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Liederbücher im NationalsozialismusJung, Michael. January 1989 (has links)
Thesis (doctoral)--Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main, 1989. / Includes bibliographical references (p. 260-276), (v. 1).
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Comparitive repression : examples of musical repression by Hitler, Stalin, and Mao /Maine, Rachel J. Boyd, Jean Ann. January 2006 (has links)
Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 95-101).
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Music and the Nazi Party Congresses, its role in spectacle, festival and ritualReinert, Kathy Carol January 1997 (has links) (PDF)
No description available.
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Zou Qilai!: Musical Subjectivity, Mobility, and Sonic Infrastructures in Postsocialist ChinaKielman, Adam Joseph January 2016 (has links)
This dissertation is an ethnography centered around two bands based in Guangzhou and their relationships with one of China’s largest record companies. Bridging ethnomusicology, popular music studies, cultural geography, media studies, vocal anthropology, and the anthropology of infrastructure, it examines emergent forms of musical creativity and modes of circulation as they relate to shifts in concepts of self, space, publics, and state instigated by China’s political and economic reforms. Chapter One discusses a long history of state-sponsored cartographic musical anthologies, as well as Confucian and Maoist ways of understanding the relationships between place, person, and music. These discussions provide a context for understanding contemporary musical cosmopolitanisms that both build upon and disrupt these histories; they also provoke a rethinking of ethnomusicological and related linguistic theorizations about music, place, and subjectivity. Through biographies of seven musicians working in present-day Guangzhou, Chapter Two outlines a concept of “musical subjectivity” that looks to the intersection of personal histories, national histories, and creativity as a means of exploring the role of individual agency and expressive culture in broader cultural shifts. Chapter Three focuses on the intertwining of actual corporeal mobilities and vicarious musical mobilities, and explores relationships between circulations of global popular musics, emergent forms of musical creativity, and an evolving geography of contemporary China. Chapter Four extends these concerns to a discussion of media systems in China, and outlines an approach to “sonic infrastructures” that puts sound studies in dialogue with the anthropology of infrastructure in order to understand how evolving modes of musical circulation and the listening practices associated with them are connected to broader economic, political, and cultural spatialities. Finally, Chapter Five examines the intersecting aesthetic and political implications of popular music sung in local languages (fangyan) by focusing on contemporary forms of articulation between music, language, listening, and place. Taken together, these chapters explore musical cosmopolitanisms as knowledge-making processes that are reconfiguring notions of self, state, publics, and space in contemporary China.
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Music and power in the Soviet 1930s : a history of composers' bureaucracy /Mikkonen, Simo. January 2009 (has links)
Teilw. zugl.: Jäväskylä, University, Diss., 2008. / Includes bibliographical references and index.
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Voices of survival: opera in TheresienstadtUnknown Date (has links)
by Jackelyn Marcus. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.
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