The Twisted Muse
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| Author | : Michael H. Kater |
| Publisher | : Oxford University Press |
| Total Pages | : 344 |
| Release | : 1999-04-22 |
| Genre | : History |
| ISBN | : 019535107X |
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
| Author | : Richard Corey |
| Publisher | : iUniverse |
| Total Pages | : 275 |
| Release | : 2014-12-30 |
| Genre | : Poetry |
| ISBN | : 1491750855 |
Author Richard Corey has worn many different outfits in his young life. As a student in his undergraduate studies at Concord University to his masters studies at Ohio University, he paid his way through school by performing musically and gambling professionally throughout the southeastern United States. Shaping his life and bending his mind to create The Twisted Muse, which he started as early as 1989 to present day, he presents a work of poetry that witnesses the evolution of his lifefrom Diary of a Psychopath to the song I Am. Struggling with economic hardship and bipolar disorder as well as almost losing his writing hand in a horrific accident in 2009, he selected these poems and songs from his handwritten pages. Through these works, Corey shares his multifaceted persona as a seeker, a reader, a lover of nature, of country music, and cowboy movies. Filled with many vivid images and pleasing sonic effects, this collection of poetry offers insight into how Corey grew as a writer, lyricist, and person while living with bipolar disorder.
| Author | : Department of History York University Michael Kater Distinguished Research Professor |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 345 |
| Release | : 1996-12-19 |
| Genre | : Music |
| ISBN | : 019977451X |
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
| Author | : Michael H. Kater |
| Publisher | : New York : Oxford University Press |
| Total Pages | : 344 |
| Release | : 1997 |
| Genre | : Music |
| ISBN | : 0195096207 |
Michael Kater's work probes the relationship of music to society and politics in the Nazi regime, 1933-1945. It addresses the question of whether or not the Nazi regime, which utilized music and musicians for the regime's own political purposes, controlled the musicians and the music, or whether these remained in some measure autonomous.
| Author | : Michael H. Kater |
| Publisher | : Oxford University Press |
| Total Pages | : 414 |
| Release | : 2000 |
| Genre | : Biography & Autobiography |
| ISBN | : 0195099249 |
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Noted historian Michael H. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime -- and if so, whether this is evident in their music. He also considers the degrees to which the Nazis poetically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.
| Author | : Julia Gabriel |
| Publisher | : Serif Books |
| Total Pages | : 301 |
| Release | : 2021-03-08 |
| Genre | : Fiction |
| ISBN | : |
Readers are saying, “Holy hotness!” … “the sexiest thing I have ever read” … “5 stars are not enough!” One wealthy heir. One new college grad. A roommate who can best be described as sex on a stick. A job that entails researching Regency era brothels and, um, “acting.” What could possibly go wrong? (Damn near everything.) My name is Sim. This book is about Alaric White—my best friend, college roommate, partner in literary crime. Alaric writes kissing books. And by “kissing,” I mean … well, you know what I mean. He writes each book with a muse. (If the IRS asks, tell them she’s a “research assistant.”) Yeah, I’ve told him this reflects a certain lack of imagination on his part. But I help out with his books so far be it from me to complain too much. Usually it doesn’t take him long to find a “research assistant” for a new book. Women send him their “resumes.” Call. Email. Turn up at every stop on his book tours. (I know, it’s a rough life but someone has to live it.) But his current work-in-progress? Well, it’s different. So he needs a different muse. Someone innocent and untouched … but also brave enough to embark on a journey into her deepest, darkest desires. After a year, he’s still searching. His agent is getting antsy. (Okay, she’s on the verge of full-blown panic that he won’t finish the book on time.) Then he sees her, looking like an angel just arisen from a leisurely afternoon of amour. (His exact words.) She’s sitting in a suburban coffee shop … and being threatened by a goon with a pistol in his waistband. (Dear reader, he rescues her.) Then a plot twist no one saw coming. He knows he should let her go. But he’s a selfish bastard. (I am too, but that’s a different story.) He just needs to keep her long enough to finish the book … Muse is a melt-your-clothes-off scorching hot standalone billionaire (well, Alaric's not technically a billionaire but he acts like one half the time) boss romance with a sweet happy ever after. (If I might say so myself.) Find out why readers are saying, “Holy hotness!” … “the sexiest thing I have ever read” … “5 stars are not enough!” (Well, I’m one of the reasons why they say that.) Of course, everyone wants my story now, too. We’ll see. My story makes Alaric’s look like a damn fairy tale. A twisted sort of fairy tale, but … well, just read it. (Trust me, it’s worth it.)
| Author | : David Czuchlewski |
| Publisher | : Penguin Books |
| Total Pages | : 244 |
| Release | : 2002-03-26 |
| Genre | : Fiction |
| ISBN | : 9780142000601 |
“An ingeniously plotted postmodernist mystery. . . . David Czuchlewski writes with imagination, vision, and style.”—Joyce Carol Oates Who is Horace Jacob Little, and what is he trying to hide? Legend has is that not even his agent had met him, that they communicated via post office box. Horace Jacob Little had insisted on blank covers for all his books. . . . No one knew what he looked like or where he lived. . . . I used to imagine him: a death-row inmate, a mild-mannered accountant, a disfigured cripple. . . . He was none of these, as it turned out, nothing my imagination could conjure. Andrew Wallace, recent Princeton graduate and troubled genius, spends his days in the Overlook Psychiatric Institute—the Muse Asylum—writing about a dark conspiracy against him engineered by the elusive author Horace Jacob Little. When fellow classmate Jake Burnett, a novice reporter, arrives on the hospital grounds to visit Andrew, he learns that Andrew’s problems run much deeper than simple paranoia and obsession. Along with Lara Knowles, the girl they both love, they try to break through the shadows of the enigmatic Horace Jacob Little. Instead, they find themselves caught in a twisted game of reflections and reversals, where each seems to be pursuing the other—for love, for success, or for a far more sinister purpose. “[A] cleverly devised, sharply composed, entertaining and moving novel.”—The Wall Street Journal
| Author | : Auryn Hadley |
| Publisher | : |
| Total Pages | : 508 |
| Release | : 2018-02-08 |
| Genre | : |
| ISBN | : 9781985624016 |
I always imagined Death's final kiss would be cold. It wasn't. Four years later, I can still remember the exact shade of his skin: a blue so pale it looked like moonlight. I dream of his touch. Mostly, I paint the man under the heavy cowl, including those perfect lips which ruined mine for anyone else. I'm obsessed with him. The doctors say he's nothing more than a hallucination caused by a mixture of head trauma and emergency pain medications. I think he's a really sexy figment of my imagination. I mean, who besides an artist would dream up the Grim Reaper for their hero?Now, something's changed and my drawings are taking on a life of their own. As if college wasn't hard enough, trying to keep this a secret is going to be impossible. Keeping my sanity might be worse. And that's not the worst of my problems.Death is back. He wants another kiss.And he's not alone.The Kiss of Death is a 156,000 word, full-length novel with NO cliffhanger ending. This is a Reverse Harem series which includes multiple love interests, some m/m themes, and graphic scenes of sex, violence, and language. Be warned: everything you thought you knew about the world, religion, and death will be pulled apart, twisted around, and put back together in ways you will not expect.
| Author | : Martin Iddon |
| Publisher | : Cambridge University Press |
| Total Pages | : 355 |
| Release | : 2013-04-18 |
| Genre | : Music |
| ISBN | : 1107067758 |
New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.
| Author | : Maureen Jackson |
| Publisher | : Stanford University Press |
| Total Pages | : 273 |
| Release | : 2013-07-24 |
| Genre | : Religion |
| ISBN | : 080478566X |
This book traces the mixing of musical forms and practices in Istanbul to illuminate multiethnic music-making and its transformations across the twentieth and twenty-first centuries. It focuses on the Jewish religious repertoire known as the Maftirim, which developed in parallel with "secular" Ottoman court music. Through memoirs, personal interviews, and new archival sources, the book explores areas often left out of those histories of the region that focus primarily on Jewish communities in isolation, political events and actors, or nationalizing narratives. Maureen Jackson foregrounds artistic interactivity, detailing the life-stories of musicians and their musical activities. Her book amply demonstrates the integration of Jewish musicians into a larger art world and traces continuities and ruptures in a nation-building era. Among its richly researched themes, the book explores the synagogue as a multifunctional venue within broader urban space; girls, women, and gender issues in an all-male performance practice; new technologies and oral transmission; and Ottoman musical reconstructions within Jewish life and cultural politics in Turkey today.
