Terezín: componer bajo el terror

Igor Contreras-Zubillaga

Terezín: componer bajo el terror

Translated title of the contribution: Terezín: composing under terror

Igor Contreras-Zubillaga

Research output: Contribution to specialist publication › Editorial

Abstract

An introduction to a three-concert series: The existence and place of music in the Nazi concentration camps did not begin to be recognised as a historical reality until the 1980s. The relationship between the arts and the particular context in which they were practiced was - and continues to be - painful and seems to exceed the limits of understanding.

Translated title of the contribution	Terezín: composing under terror
Original language	Spanish
Pages	7-17
Number of pages	11
Specialist publication	Ciclo de Miercoles
Publisher	Fundacion Juan March
Publication status	Published - 24 Feb 2021

Cite this

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title = "Terez{\'i}n: componer bajo el terror",

abstract = "An introduction to a three-concert series: The existence and place of music in the Nazi concentration camps did not begin to be recognised as a historical reality until the 1980s. The relationship between the arts and the particular context in which they were practiced was - and continues to be - painful and seems to exceed the limits of understanding.",

keywords = "Terezin, Music in the Nazi Ghettos and Camps, Music and the Holocaust, Music in Nazi Germany",

author = "Igor Contreras-Zubillaga",

year = "2021",

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language = "Spanish",

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T2 - componer bajo el terror

AU - Contreras-Zubillaga, Igor

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N2 - An introduction to a three-concert series: The existence and place of music in the Nazi concentration camps did not begin to be recognised as a historical reality until the 1980s. The relationship between the arts and the particular context in which they were practiced was - and continues to be - painful and seems to exceed the limits of understanding.

AB - An introduction to a three-concert series: The existence and place of music in the Nazi concentration camps did not begin to be recognised as a historical reality until the 1980s. The relationship between the arts and the particular context in which they were practiced was - and continues to be - painful and seems to exceed the limits of understanding.

KW - Terezin

KW - Music in the Nazi Ghettos and Camps

KW - Music and the Holocaust

KW - Music in Nazi Germany

UR - https://www.march.es/series/100551/

UR - https://recursos.march.es/culturales/documentos/conciertos/15_40850.pdf?v=261147084

M3 - Editorial

SN - 1989-6549

SP - 7

EP - 17

JO - Ciclo de Miercoles

JF - Ciclo de Miercoles

PB - Fundacion Juan March

ER -

Terezín: componer bajo el terror

Abstract

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