Persecution, Collaboration, Resistance : Music in the ‘Reichskommissariat Norwegen’ (1940–45)

When Germany invaded Norway on 9 April 1940, the long lasting bilateral relations changed fundamentally. Immediately, the administration of the ‘Reichskommissariat Norwegen’ (responsible for culture and therein music together with the Norwegian puppet regime’s department for culture) implemented the...

Further contributors: Rupprecht, Ina (Editor)
Document types:Book
Media types:Text
Publication date:2020
Date of publication on miami:07.10.2020
Modification date:18.04.2023
Publisher: Waxmann Verlag
Edition statement:[Electronic ed.]
Source:Ina Rupprecht (Hrsg.): Persecution, Collaboration, Resistance. Music in the ‘Reichskommissariat Norwegen’ (1940–45) (Münsteraner Schriften zur zeitgenössischen Musik, Band-Nr. 5) Münster : Waxmann, 2020, ISBN 978-3-8309-4130-9, 184 S.
DDC Subject:350: Öffentliche Verwaltung, Militärwissenschaft
780: Musik
920: Biografie, Genealogie
948: Geschichte Skandinaviens
License:CC BY-NC-SA 4.0
Language:English
Funding:Finanziert durch den Open-Access-Publikationsfonds 2018 der Westfälischen Wilhelms-Universität Münster (WWU Münster).
Förderer: Deutsche Forschungsgemeinschaft / Projektnummer: 326683797
Format:PDF document
ISBN:978-3-8309-9130-4
URN:urn:nbn:de:hbz:6-79089666191
Other Identifiers:DOI: 10.17879/20069454664
Permalink:https://nbn-resolving.de/urn:nbn:de:hbz:6-79089666191
Related records:
Digital documents:rupprecht_2020_978-3-8309-9130-4.pdf

When Germany invaded Norway on 9 April 1940, the long lasting bilateral relations changed fundamentally. Immediately, the administration of the ‘Reichskommissariat Norwegen’ (responsible for culture and therein music together with the Norwegian puppet regime’s department for culture) implemented the adaption to the new, official National Socialist guidelines. The diversity of music in Norway during the occupation is presented in this book by Norwegian and German authors, confronting research on collaboration, persecution, and resistance for the first time as an international endeavour. The different essays illustrate not only examples of exile and persecution and ask for the consequences of Nazi politics on prominent and forgotten fates, but depict how Norwegian artists and their organisations positioned themselves towards collaboration or resistance during and after the war, as well as contrasting it with the impressions of German musicians, both military and civilian, playing in Norway during the occupation. Including Norway into the international discourse on ‘Music and Nazism’, the articles address readers both interested in the German occupation of Norway, and the implications the German administration and its Norwegian counterparts had on the music life.