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Questions?

3

5

Lets Listen

Works Cited

de Klerk, A. (n.d.). Making Friends for Life at Vught. Musiques Régénérées . http://www.musiques-regenerees.fr/Pays-Bas/DolkPieter.html

Fackler, G. (2010). Cultural behaviour and the invention of traditions: Music and musical practices in the early concentration camps, 1933-6/7. Journal of Contemporary History, 45(3), 601–627. https://doi.org/10.1177/0022009410366704

Kiliaan, J. (n.d.). Marius Flothuis. Forbidden Music Regained. https://www.forbiddenmusicregained.org/search/composer/id/100022

Jacobson, J. (1995). Music in the Holocaust. The Choral Journal, 36(5), 9–21. http://www.jstor.org/stable/23550989

The first performance

2

A birthday gift

Who

When

Aubade: Music of Camps

Exploring Music of Internemt Camp Prisoners

Music in Concentration Camps

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"But for the prisoners, music could also be an expression of solidarity and survival" (Fackler, 2010)

How was music used as a form of control?

How was it used as a form of freedom?

How was it used as a form of resistance?

Aubade

What is an Aubade?

What motifs are used?

Marius Flothuis

Vocal left-wing activist

Composer and pianist

Assistant Artistic Director of the Concertgebouw Orchestra (1937-1942, 1953-1974)

Survivor of prison camps Vught

Lasting Impact

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Today, there are many organizations dedicated to the discovery and preservation of Holocaust music

Many reasearchers look into the lasting cultural impact left on freed prisoners

Holocaust music is being more widely recognized and played throughout the world, ensuring that these moments in time are never forgotten

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