| dc.description.abstract | Music occupies a unique and multi-faceted role in spatial representation of the Holocaust, both in terms of documenting its horrors and in cultivating legacy. This uniqueness derives from music’s dual temporal and physical essence as it is represented by written scores that serve as a blueprint, as sonic events that fill both time and space, and as musical instruments that operate as conduits for both. String instruments, in particular, have occupied a vital place in Jewish culture and, consequently, during the Holocaust. In the most tragic sense, some of these instruments even became actual containers of genocidal evidence as with violins played outside concentration camp crematoria that filled with the human ash that fell. This article will demonstrate that, when played, these instruments transform into living artifacts and musical witnesses, with voices that can speak for those who have been silenced, and that the resulting music that resonates from the printed page fills a sonic space that serves as a powerful medium for memory and representation. The phrase “bearing witness” often refers to representing the stories of people, places, and experiences through words, either written or spoken. But material culture also has a role to play in representation. While objects, art, and architecture certainly support language-based witness, they also provide their own unique lens and conduit for testimony. This seems especially true for music, which has the ability to exist as and cross between both words and objects. Nevertheless, music as material witness remains a complex and often understudied aspect of historical testimony. As a result, this paper will explore through an interdisciplinary approach the divergent nature of music as an aural form, as a creative art, and as a cultural artifact and will offer examples of how music can enhance, elucidate, and complicate Holocaust representation. | en_US |
