Listening To Ethnographic Holocaust Musi

15 Listening to ethnographic
Holocaust musical testimony

throughthe'ears'ofjean-Luc
Nancy
Joseph Toltz
What truly betrays music and diverts or perverts the movement of its mod-
ern history is the extent to which it is indexed to a mode of signification and
not to a mode of sensibility. (Jean-Luc Nancy) 1
For the past 17 years I have been researching music and memory in Jewish Holocaust
survivor testimonies, and the role of music in survivors' lives in the present day. In
this chapter, I will use a critical approach based on listening to revisit the material
of my original research, drawing on a model proposed by the French philosopher,
Jean-Luc Nancy. 2 According to Nancy, the habituated practices of listening in
philosophy are not really acts of listening but are, instead, acts of hearing for
understanding: we hear (rather than listen) to understand. We hear to emphasise
the meaning of what is said rather than to think about how listening in and of
itself - which comes to us by way of the sonorous - is capable of generating new
ways of hearing. Bronwyn Davies goes further to suggest that what we usually
think of as listening is hierarchically constituted: 'we listen in order to fit what we
hear into what we already know'. 3 The inference is that what we already know is
more important than what we do not know yet.
I will suggest that Nancy's work, like that of Davies, posits a non-hierarchical,
emergent listening. Whereas Davies is interested in how listeners emerge through
the process of listening - both as listeners and as those who are listened to -
Nancy's philosophical meditation ponders on the relationship of sound to the
human body. He argues that as a phenomenon of the human body, sound, more
than vision, envelops and enters the body in ways that cannot be ignored. Because
sound engulfs all of our beings, it produces powerful effects long after its sounding
ends, living on in the memory. I will suggest that this idea is demonstrated in my
work on Holocaust survivor testimonies: survivors recall the music from their time
in the camps and ghettos as if it is being heard for the first time. It resounds as a
powerful memory in their lives in the present day.
Nancy's work is interested in how listening differs from hearing and from see-
ing. He questions whether it is possible to hear and understand at the same time.
His meditation explores a deeper sense of what is entailed in listening, suggesting
that it is a sensibility that is produced by the connections between our whole beings
and the sounding phenomena resounding inside and outside our beings. Listening
Listening to ethnographic Holocaust musical testimony 189
might begin with what is already known but it also opens up the possibility of the
unknown. Thinking about listening in this way prompted me to revisit my research
and to consider the musical testimonies I had collected as sonorous material. I
bring this mode of sensibility to my work, imagining that the site of listening is an
act of care within the scholarly space.
I will begin with a brief account of the normative modes of listening to the
musical experience in the context of Holocaust studies. These dominant narra-
tives have used music to serve as archival documentary, to garnish the historical
narrative, and to perform the work of 'reconstruction' in order to 'understand'
the 'truth' of experience. These are top-down modes of listening which empha-
sise hearing as understanding, privileging the researcher rather than allowing the
voices of the participants to be 'heard' and listened to as emergent with the voice
of the researcher. I will then propose that Nancy's mode of listening generates an
emergent sonorous space in the re-reading of my earlier research. In so doing,
I will demonstrate that when listening is conceived as emergent and resonant it
becomes a mode of sensibility.
Music in the Holocaust: The llinits of signifying complicity

and resistance
In order to understand the normative modes of signification that music has been
assigned in Holocaust testimony, I will begin by addressing the place of testimony
itself Individual survivor testimony did not receive public imprimatur until the
1961 trial of Adolf Eichmann. Deborah Lipstadt argues that one of most the
significant historical developments of this trial was the first substantial inclusion
of Holocaust survivor testimony. 4 After the conclusion of the Second World War
and the completion of the Nuremberg Trials, almost an entire generation of indi-
vidual voices of survivors were finally heard publicly in a juridical setting. Around
the same time, the first literary testimonies to capture the imagination of the pub-
lic emerged in English translation: Primo Levi's lJ this is a Man and Elie Wiesel's
Night. 5 In their original languages, neither of these works were successful, 6 and nor
did they find publishers willing to distribute them beyond a small print run. The
prominence, however, of the Eichmann trial initiated a much larger public aware-
ness, translation, and eventually an enthusiastic reading audience. Together with
Jean Amery and the poet Paul Celan, Levi and Wiesel test what Leigh Gilmore
has referred to as the limit of representation in which the 'compulsory inflation
of the self to stand for others' muddies notions of clarity between a singular and
shared perspective. 7 In Levi's narrative, the banality of the camp band playing the
popular song Rosamunde8 provides a momentary point of amusement on arrival
in Auschwitz, before the writer returns to his relentlessly dispassionate descrip-
tion of the grey anti-life of camp existence. 9 In an even pithier fashion, Wiesel
describes the musical accompaniment for the workers in and out of Monowitz, a
forced labour satellite camp of Auschwitz. 10 For each of these authors, music is a
descriptive tool of narrative, rather than a testimony in its own right: a mockery
of a beloved art-form, perverted by the Nazi death camp system.
190 Joseph Toft;::
Paul Celan is more condemnatory of the complicity of music in this place. In the
Todeifiige of 1948 he notes that music plays a role darker than that of accompaniment:
He calls play sweeter for death; Death is a Master from Germany

He calls stroke the violins darker then you will rise as smoke into the air
Then you will have a grave in the clouds where one has room to stretch. 11
In reading this one hears a stark resonance with what Elaine Martin refers to as
the aporetic tension at the heart of the thought of Theodor Adorno: the obliga-
tion to represent the Holocaust, and the impossibility of an adequate representa-
tion.12 Here are Adorno's own words of that terrible musical moment:
If thought is not measured by the extremity that eludes the concept, it is

from the outset in the nature of the musical accompaniment, with which the
SS drowned out the screams of its victims. 13
The despair of the poet is not just for the murderous tragedy of the Holocaust
itself but also for the retrospective implications it has on the meaning of German
culture. Adorno pronounces that, '(wlord hasn't yet got around that culture, in the
traditional sense of the word, is dead', 14 finally to conclude that:
Auschwitz has demonstrated irrefutably that culture has failed. That it

could happen in the midst of the philosophical traditions, the arts and the
enlightening sciences says more than just that these failed to take hold of
and change the people. All culture after Auschwitz, including its urgent cri-
tique, is rubbish.15
At this aporetic moment, Adorno has nowhere to turn. The cultural past has
failed miserably. H e has already rejected popular forms with contempt, taking
Siegfried Kracauer's notion of the distraction industry to its end limit. For
Adorno, an aesthetic of irreconcilability was the only tenable solution. Only art
that had the inbuilt potential to fail to reconcile the particular and the universal
was worth pursuing. Moreover, this art had to aspire to negotiate between free-
dom and social order, and to provide an implicit critique of the conditions lead-
ing to its own production, thereby undermining itself in the process. As Terry
Eagleton explains:
every work of art pretends to be the totality it can never become; there
is never any achieved mediation of particular and universal, mimetic and
relational, but always a diremption [separation/ disjunction1 between them
which the work will cover up as best it can. 16
The placement of music at the complicit centre of the Nazi enterprise leaves no
room for the discussion of musical experiences of Holocaust survivors, and no
space for the resonance of musical testimony.
The other prime mode of signification can be found in the redemptive dis-
course of 'spiritual resistance'. 17 We begin again with Elie Wiesel, whose initial
encounter with music in the camps is countered by a moment of reprieve experi-
enced on a death march back into Germany. The character Eliezer reunites with
his friendjuliek, a violinist from Warsaw, who manages to smuggle his instrument
on the march. Here we read the first documented account in testimony of an act
of free musical expression, one of the earliest instances in testimonial literature
introducing a notion of spiritual resistance:
To this day, whenever I hear the Beethoven played my eyes close and out of
the dark rises the sad, pale face of my Polish friend, as he said farewell on his
violin to an audience of dying men. 18
By the 1970s, spiritual resistance was an entrenched construct, driving interest in

new music-specific testimonies, 19 research into musical activities in Terezin, and
eventually the exploration of everyday musical life in the L6dz Ghetto by Gila
°
Flam in 1992. 2 Flam declared that it was her mission to determine the meaning
of the songs in terms of their symbolic and aesthetic values as attributed by survi-
vors. In so doing, she propagated a redemptive discourse. It would take another 13
years for this construct to be challenged by Gilbert who pointed out that the sen-
timental, mythologising rhetoric surrounding the redemptive reading of musical
activity in the Holocaust had the potential to silence opposing voices. 21 By limiting
the discourse to that of an honorific, memorialising status, this mode of signifi-
cation simplified the accounts of human existence in the camps and ghettos. 22
Gilbert, however, whose work accessed primary historical sources such as Yiddish
song collections and the testimony of musical activities from that time, argued for
the reintroduction of complexity into the musical narrative, stating that:
Musical activities in many camps and ghettos were prolific and diverse, and
afforded the victims temporary diversion, entertainment, and opportunities
to process what was happening to them.23
Although the impact of Gilbert's theoretical critique cannot be overestimated,

her survey barely touched the surface of the body of historical musical mate-
rial. Immediately after the war, Jewish historical commissions were established in
Germany, Poland, the USSR and Hungary. These set out to collect thousands of
written testimonies in the newly liberated East. Recordings of songs and poetry
from camps and ghettos, such as the songbooks of Szmerke Kaczerginski, com-
plemented the Yiddish accounts of life in occupied Europe. 24 At the same time,
the Latvian-born American psychologist, David Boder, captured the first audio
recordings of survivor testimony. 25 K aczerginski's songbooks remained untouched
by researchers until Gilbert's work, and Boder's musical recordings are only just
now being examined in detail. Modern responses to this musical material has seen
Klezmer renditions of the music in Flam's book, 26 and a controversial reconstruc-
tion of the performances of Verdi's Requiem in the Terezin Ghetto, a project
192 Joseph Toltz
known asDifiant Requiem. Using Nancy's model, I will now turn my attention to the
music, focusing on the interpretations of musical memory in the recreation and
reconstruction of this material.
Nancy and listening

Nancy's Listening begins with a confrontational question to philosophy. He asks
whether philosophy is capable of listening (ecouter) and suggests that it already
superim~oses an order of understanding (entendre) on that which is under exam-
ination. 7 Nancy uses the concept of sense (sens) to contrast the visual and the
conceptual, and to argue that the sonorous is the excess of the visual and of form.
He is interested in the differences thrown up by the senses, and the ways in which
we perceive the senses in relation to meaning. 28 He suggests that the philosopher
perceives the world through the ear. In this view, the ear is immersive: it is through
the practice of listening that one is formed. My interview with Kitia Altman was
held on a wet autumn day in 2008. For three hours I sat, entranced by her narra-
tive that begins as a comfortable, middle-class existence in Bydzin, Poland, moves
through the traumas of five years in camps and ghettos, and culminates in a story
about her time trapped in a slave-labour munitions factory underground in which
she witnessed a Roma girl singing a popular melody called Mamatschi, kauf mir ein
Pferchen. Despite claiming that she is tone deaf, having no musical ability or inter-
est, Altman sang an excerpt to me. Her rendition of the song gave such bodily
resonance to that experience, drawing me into that world and allowing me a space
as witness to her story.
For Nancy, the body is like an echo chamber. It responds to the forces of its inte-
rior and exterior. As an echo chamber, it resounds freely. When listening takes over
the whole of our being, it opens a world in which sonority rather than the message
becomes important. There is a feeling of secrecy and privacy embedded in the
practice of listening: to listen is 'literally to stretch the ear'. 29 Nancy suggests that
there is a special relationship between the ear and sense, and to hear is to under-
stand the sense. Listening must be delineated from the other senses. We thus strain
towards a possible meaning that is not immediately accessible or apparent. 30 '"'e
listen to speech in order to understand. vVe listen to silence in order to hear what
arises from it. We listen to music as background or foreground, and it produces a
sense of listening that is of the whole, resonant body. To be listening thus is to be
on the edge of meaning as if the sound to which one listens musically is emergent,
not as an acoustic phenomenon, but as a resonant meaning in whose sense is found
only in resonance. Nancy refers to this as reference (renvoz) by which he means a
totality of referrals, from signs to things, to states of things, qualities, and from sub-
ject to another subject. 31 Sound also operates in a state of referral, for to sound is
'to vibrate in itself or by itself. It is not only, for the sonorous body, to emit a sound,
but it is also to stretch out, to carry itself and be resolved into vibrations that both
return to itself and place it outside itsel£' 32 Meaning and sound thus share the
space of a referral. When one listens, one looks for something that is identified by a
resonance from self to self, in itself, for itself, and outside itself. And to be listening
is to strain towards or to be in an approach to the self, not the singular self, nor the
self of the other, but to the form, structure and movement of an infinite referral. 33
In Nancy's view, the presence of sound is always within the return and the
encounter. It is a place as relation to self. Sound resounds in the sonorous place.
The sonorous place is where a subject becomes a subject because of who it
is as a subject. Perhaps the survivor, inured to a world of brutality, bereft of
control, may hear or create sound in the same manner: to realise or reassert
their own selves?
Through a reading of Gerard Granel, Nancy then suggests that sound is not
a phenomenon, as it does not stem from a logic of manifestation. Instead, it is an
evocation, a summoning presence to itself, 'an impulsion'. 34 Nancy then intro-
duces the notion of silence as an arrangement of resonance, rather than a priva-
tion. He says that the subject of listening, the subject who is listening, or the one
subject to listening, are all places of resonance in which infinite tensions exist and
rebound. Resonance thus opens itself up to the self. It becomes the resonant body
and its vibrations become a being. The ear stretches and is stretched by meaning
(sens). From this he deduces that musical listening is, in itself, the listening of self,
arranged according to the profundity of the resonant chamber, the body. Listen-
ing is thus ahead of signification. It is in a state of return for which the end of
the return is not given. Music played is music sounded, but resonance gives sense
to it. In order to exist, however, music must play on sonorous bodies. Music thus
silences and interprets sounds, and produces the body that sounds and senses its
own resonance. So, within a text there is a musicality, a resonance that listens to
itself, finds itself by this listening, and deviates from itself at the same time in order
to resound.
Listening in aporetic moments

The year 1998 marked my first moment in the formal journey of survivor inter-
viewing. At that time, I had completed my Hospital chaplaincy training, and was
on my way to become Cantor at Temple Emanuel, a non-Orthodox Synagogue
in Sydney. Through pastoral work and personal friendships, I encountered musi-
cal life in concentration camps via Ida Ferson, a Polish survivor and music lover.
Ferson entrusted me with a set of unedited facsimile manuscripts of music given
to her by the survivm; pianist and sister of composer Gideon Klein, Eliska (Lisa)
Kleinova. All the works had been composed in Terezin. Meanwhile, the curators
of a special exhibition on Terezin at the Sydney J ewish Museum commissioned
my vocal quintet to perform a work composed in the Ghetto. We performed the
highly chromatic, dissonant setting of a Friedrich Holderlin poem (translated into
Czech), Madrigal (1943), by Gideon Klein. 35 The translation reads as follows:
The agreeable things of this world were mine to enjoy.

How long gone are the hours of my youth.
April, May andJuly are distant!
I'm nothing anymore, yet listlessly I live on.36
194 Joseph Toll;:;
At the exhibition launch, a Terezin survivor approached me, identifying himself

as Jerry (Jaroslav) Rind, a survivor of Terezin, Auschwitz and Gleiwitz, and a
fifth-generation Jew from the small town of Sudomerice in southern Bohemia.
He asked why I had programmed such a discordant, unfamiliar, unknown work
as Klein's Madrigal. My first aporetic moment was about to occur. Taken aback by
his question, I explained that I had been asked to perform music that had been
written in the camp. Rind spoke about the children's opera Brundibdr, a work that
contained for him many personal associations. He also spoke of other cultural
activities that ghetto dwellers flocked to see - operas, cabaret, theatre, chamber
music and choral presentations. This encounter caused me to listen, to consider
listening in a different manner, and it changed the course of my research, extend-
ing it to include the cultural activities in Terezin. It captured what Adelaida Reyes
refers to as the 'expressive culture' in which '"inside jokes" [are] intelligible only
to those who have an insider's knowledge of the culture. It is the kind of meaning
that music conveys, over and above the meaning made accessible by the discovery
of the internal logic that makes the music coherent. >37
In addition to my interviews with Czech survivors, I accessed the experience of
Yiddish speakers in Melbourne. Attentive 'listening' to this material proved fruitful:
in 2011, during a fellowship at the US Holocaust Museum, I examined the musical
recordings of David Boder. 38 One of the songs embedded in Boder's testimonies
was absent from the annals of Holocaust histories and songbooks. Originating from
Buchenwald, it was sung to Boder by a 19 year old, Israel Unikowski. Listening
to the recording awakened a strange familiarity. I re-examined my own interview
materials from 2007 and found a handwritten text of the same song, given to me
by another survivor, Joe Szwarcberg. The song transmits in free verse-form a prosaic
vision of the bleak existence in Buchenwald, while the simple, waltz-like chorus
engenders the possibility of group participation. It is one of the most powerful
moments in Unikowski's interview with Boder. In 2011 I travelled to Melbourne to
interview Unikowski, now known as Jack. I played his song to him but he could not
recall having heard it and wondered how he could have blocked this particular part
of his memory. Unikowski demonstrated his own lucidity and memory retention by
reciting in Yiddish (by heart) the entire text of Moshe Shulshtayn's poem 'We are the
Shoes'. Once again, an aporetic moment allowed the space for listening, resulting in
an extended dialogue between survivor and witness regarding the worth and func-
tion of musical memory, and the value of everyday songs from ghettos and camps.
Writing about listening, Georgina Born demands that we focus on the rela-
tions between the musical object and the listening subject. She says that the latter
demands an analysis of the social and historical conditions, and the mediation
of listening. It also asks us to pay attention to the changing forms of subjectivity
brought to music. 39 Musical testimony as a form of listening opens up a new
model of subjectivity through the resonance that it brings to the musical experi-
ence. Emmanuel Levinas asked us to reconceive of what it means to be a self, to
have subjectivity, to consider oneself an active agent. Accordingly, he suggests that
if we have subjectivity and agency by virtue of a dialogic relationship with others,
°
then we are not opposed.4 Kelly Oliver suggests that, instead, we are responsible
for our abilities to respond, just as we are responsible to open ourselves to the
responses that constitute us as subjects. 41 In first formulating the notion of musical
testimony, I became preoccupied with an ethical hermeneutic dialogue of prac-
tice in the listening encounter with survivors. 42 I designated my subject the idea
of its 'musical testimony', to give credence and voice to that aspect of testimonial
memory that had been the province of only the most expert of musical witnesses.
I wanted to show that audience or amateur participation, and incidental musical
activities are as much a part of musical life in society as are the formal concerts or
recorded music listening experiences. The text I was contemplating was survivor
testimony of musical experience. At that time I defined this as Other in multiva-
lent ways: it was essentially and assertively Other from my own experience as a
person who was two generations removed from the actual events; it was Other in
that it was a musical experience not of my own; and it was Other in that it was
situated within , perhaps, the most Other of experience of the twentieth century,
namely, that of the Holocaust. The failure of the Nazi mission to eradicate the
Jewish Other echoes the Levinasian assertion that the destruction of the Other is
unattainable. Approaching this Other experience (that of the Holocaust survivor)
required a form of ongoing dialogue which enriched, corrected, modified and
drew the Other into a collaborative approach that continued to inform aspects
of the text produced and continued to refine the accounts that were presented.
Applying this model of Self and Other constantly reinforced the approach taken
by me as interviewer, and my subjects as interviewees. An intrinsic ethics was
arrived at which resisted notions of 'empathic understanding'. Rather I aspired
only to reach a sense of contemplation through dialogue, that is, through welcom-
ing the Other by Me (the Self) into such an interaction, and vice-versa.
Revisiting this construct through my reading of Nancy, I see that I had previ-
ously been guilty of attempting to impose a mode of signification on my experi-
ence. Listening once again to my interviews, I come to the realisation that listening
is the immediacy: in listening, I create an attentive space where the musical mem-
ories of Holocaust survivors are allowed to resound. In listening to my study in
this manner, I approach my material in order to be on the edge of meaning, and
to find in the material its inherent resonance. As I listen to my survivors speak of
musical experience, coloured by many years of memory and further experience,
I listen to look for a relationship within the self, for a sense of access and a con-
tinual passing and coming. This places me as not 'Other' but as simultaneously
outside and inside. In this sense, listening to the sonorous presence, made up of
an extraordinarily complex set of returns, is listened to from both the side of
reception and that of emission. In absorbing this experience of listening, my ear is
stretched according to the meaning generated, but also to what is happening prior
to signification. This music is encapsulated in sonorous bodies of those who care to
share their experiences in this fashion and, in so sharing, making their own bodies
resonate. Writing about these experiences in this fashion is challenging. However,
what emerges is a non-neutral sense of these experiences with their own musical-
ity. In turn, this produces a resonance that listens to itself, and finds, deviates and
resounds in the retelling.
196 Joseph Toltz
Notes
Jean-Luc Nancy, Listening, trans. C. Mandel (New York: Fordham University Press,
2007), 57.
2 Nancy, Listening.
3 Bronwyn Davies, Listening to Children: Being and Becoming (London and New York: Rout-
ledge, 20 14), 21.
4 See Deborah E. Lipstadt, The Eichmann Trial (New York: Ncxtbook/Schocken, 20 11).
5 See Primo Levi, Se Qyesto E Un Uomo (Torino: F. de Silva, 194 7); and Elie Wiesel, Un
Di Velt Hot Geshvign (Buenos Aires: Tscntral-farband fun poylische yidn in Argentine,
1956).
6 Levi originally published lf This is a Man in Italian in 194 7 (see n. 5 above). The first
English translation appeared in 1959.
7 Leigh Gilmore, The Limits qf Autobiography: Trauma and Testimony (Ithaca, NY: Cornell
University Press, 2001 ), 4.
8 Not to be confused with Schubert's incidental music D. 797 , this tunc is known in
English-speaking countries as the Beer-Barrel Polka. The original song, Skoda Lasky, is
Czech in origin. It belongs in the repertoire known as schlager (Slagr) - sentimental bal-
lads with catchy, popular tunes.
9 Levi, lf This Is a Man, 20.
10 Elie Wiesel, Night; Dawn; [and), the Accident: Three Tales, trans. Stella Rodway, Frances
Frenaye, and Anne Borchardt (London: Robson Books Ltd, 1974), 57.
11 Paul Celan 'Todeifitge', in German Poetry in Transition, 1945-1990 ed. and trans. Charlotte
Melin (Hanover, New Haven: University Press of New England, 1999), 85- 7.
12 Elaine Martin, 'Art after Auschwitz: Adorno Revisited', in New Essays on the Franlifitrt
School qf Critical Theory, ed. Alfred J. Drake (Newcastle upon Tyne, UK: Cambridge
Scholars, 2009).
13 Adorno translated and cited by Elaine Martin in 'Art after Auschwitz', 199; see the
original German text in Theodor W. Adorno, Negative Dialektik: Jargon Der Eigentlichkeit
(Frankfurt am Main: Suhrkamp, 1966), 358.
14 Adorno translated and cited by Elaine .Martin in 'Art after Auschwitz', 200; see the
original German text in Theodor W. Adorno, Kritik: Kleine Schri.flen Zur Gesellschajt
(Frankfurt am Main: Suhrkamp, 1971 ), 23.
15 Adorno translated and cited by .Martin, 'Art after Auschwitz', 200.
16 Terry Eagleton, The Ideology qf the Aesthetic (Oxford, UK: Blackwell, 1990), 353.
I7 According to Pnina Rosenberg, Miriam Novitch (survivor of the Vittel internment
camp and first curator of the Ghetto Fighters' House) first coined the term 'spiritual
resistance' in the 1950s. See Pnina Rosenberg, 'Art of the Holocaust as Spiritual Resist-
ance: The Ghetto Fighters' House Collection', Block Museum of Art, Northwestern
University, accessed 15 March 2015, http:/ /lastexpression.northwestern.edu/essays/
rosenberg. pdf.
18 Wiesel, Night; Dawn; [and}, the Accident, 10 I.
19 Sec Fania Fenelon and Marcelle Routier, Sursis Pour L'orchestre (Paris: Stock, 1976);
Szymon Laks, Music qf Another World, trans. C.A. Kisiel (Evanston : Northwestern
University Press, 1989); Anita Lasker-Wallfisch, Inherit the Truth, 1939- 1945: The Docu-
mented Experiences qf a Survivor qf Auschwitz and Belsen (London: Giles de la .Mare, 1996);
and Melissa Muller and Reinhard Piechocki, A Garden qf Eden in Hell: The lift qf Alice
Her;;,-Sommer (London: Pan Books, 2006).
20 Gila Flam, Singing.for Survival: Songs qf the Lod;;, Ghetto, 194D-1945 (Urbana and Chicago:
University of Illinois Press, 1992).
21 Shirli Gilbert, Music in the Holocaust: Corifronting lift in the Na;;,i Ghettos and Camps (Oxford:
Oxford University Press, 2005).
22 Gilbert, Music in the Holocaust, 11.
23 Gilbert, Music in the Holocaust, 17.
24 Sec Szmerkc Kaczerginski, Dos Gezang Fun Vilner Geto (Paris: Farband fun di vilncr
in frankraykh , 194 7) and Undzer Gezang (Centralny Komitet zyd6w Polskich: Wydzil}
Kultury i Propagandy, 194 7); and Szmcrke Kaczerginski, Michl Gelbart, and H. Lcivick,
Lider FunDi Getos Un Lagern (New York: Tsiko, 1948).
25 The testimonies have been streamed online with transcripts and translations available
at, accessed 10 December 2014, http:/ /www.voices.iit.edu. The most comprehensive
account of Boder's testimonies is given in Alan Rosen, The Wonder if Their Voices: The
1946 Holocaust Interviews if David Boder (New York: Oxford University Press, 2010).
Rosen's work discusses the songs embedded in five or six testimonies but it does not
address the recorded song sessions.
26 Sec 'Brave Old World' (Musical group), Dus Gezang Fin Geto Lodzh (Ludwigsburg,
Germany: Winter & Winter, 2004), CD, Red House Records CD 134.
27 Nancy, Listening, 5-6.
28 Nancy, Listening, 3.
35 Gideon Klein, 'Two Madrigals' (1942, 1943), ed. David Bloch (Berlin: Booscy &
Hawkes, 2003).
36 Original text of the setting: 'Co p~jcmncho davit svet/jscm mel, ach, ano. Let
mladych radost jc, 6, zel, jak davno za mnou. Dubcn a maj a cervcn muj jsou kdcpak!
Uz ncjscm nic, uz tady z~ju ncrad'. Emil A. Saudck made the translation from German
to Czech. Facsimile score obtained from the collection of E. Klcinova, 1981.
3 7 Adelaida Reyes, 'What Do Ethnomusicologists Do? An Old Question for a New Cen-
tury', Ethnomusicology 53/ I (2009), 14.
38 See n. 26 above.
39 Georgina Born, 'Listening, Mediation, Event: Anthropological and Sociological Per-
spectives' ,Journal if the Royal Musical Association 135/1 (20 I 0): 79- 89.
40 Emmanuel Levinas, Totaliry and lnfiniry: an Essay on Exterioriry (Pittsburgh: Duquesne
University Press, 1969).
41 Kelly Oliver, Witnessing: Beyond Recognition (Minneapolis, MN: University of Minnesota
Press, 2001 ), 18- 19.
42 I have taken this idea from Gary Tomlinson, Music in Renaissance Magic: Toward a Histo-
riography if Others (Chicago: University of Chicago Press, 1993).
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Listening To Ethnographic Holocaust Musi

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15 Listening to ethnographic

Holocaust musical testimony

Music in the Holocaust: The llinits of signifying complicity

He calls play sweeter for death; Death is a Master from Germany

If thought is not measured by the extremity that eludes the concept, it is

Auschwitz has demonstrated irrefutably that culture has failed. That it

By the 1970s, spiritual resistance was an entrenched construct, driving interest in

Although the impact of Gilbert's theoretical critique cannot be overestimated,

Nancy and listening

Listening in aporetic moments

The agreeable things of this world were mine to enjoy.

At the exhibition launch, a Terezin survivor approached me, identifying himself

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