Nazi Power And Their Regulations On Censorship

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A few downsides to this rather successful scene, however, stemmed from the Nazi power and their regulations on censorship. One guideline of the music in Europe was the banning of degenerate music along with any performance or mentioning of Jewish composers and their compositions. Due to this stipulation, several cycles of Beethoven and Wagner worked their way trough this group during this period. Jewish musicians were also forced to leave their jobs in the orchestra, leaving a big gap in performers. In addition, The Paris Conservatory remained open during the war, but was forced to release students and staff of Jewish identity. Fortunately, some members were encouraged to resign or take a leave of absence, but the rest were obligated to leave. Likewise to the Jewish oppression in France, Jewish ghettos like the Warsaw Ghetto was home to over four hundred thousand Jewish migrants at the time of its establishment in November 1940. At first, life within the ghetto had not changed and neither did its musical activity. Value in music of nationalistic and religious background was common along with pre-war popular music and repertoire. As the transitional period of the Nazi’s ‘Final Solution’ entered into the picture, however, all of this quickly changed. Overcrowding, scarce resources like water and food, disease, and criminal activity increased while the borders of the ghetto contracted in size. At first, life was bumpy. The Sztuka Café, which was still home to high-ranking
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