Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.35
T. Reed
This chapter discusses the origins, methodology, and preliminary results of the Hopi Music Repatriation Project (HMRP), a community-partnered initiative aimed at securing the return of Hopi ceremonial song recordings and their associated intellectual property rights back to the Hopi Tribe. While scholars have extensively documented the legal and ethical imperatives for the repatriation of Indigenous documentary materials from archives, museums, and other institutions, relatively little has been written about how to conceptualize and carry out a reincorporation of archived ancestral voices back into Indigenous communities. This chapter grapples with a methodology for recirculating archived Indigenous voices in ways that resist dependence on settler-imposed legal frameworks, relying instead on the social and political relationships that already govern ownership of and access to Indigenous knowledge, creativity, and ritual expression. Ultimately, community-based theorizing of repatriation methodologies is necessary to carry out a decolonizing repatriation of archived Indigenous voices.
{"title":"Reclaiming Ownership of the Indigenous Voice","authors":"T. Reed","doi":"10.1093/OXFORDHB/9780190659806.013.35","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.35","url":null,"abstract":"This chapter discusses the origins, methodology, and preliminary results of the Hopi Music Repatriation Project (HMRP), a community-partnered initiative aimed at securing the return of Hopi ceremonial song recordings and their associated intellectual property rights back to the Hopi Tribe. While scholars have extensively documented the legal and ethical imperatives for the repatriation of Indigenous documentary materials from archives, museums, and other institutions, relatively little has been written about how to conceptualize and carry out a reincorporation of archived ancestral voices back into Indigenous communities. This chapter grapples with a methodology for recirculating archived Indigenous voices in ways that resist dependence on settler-imposed legal frameworks, relying instead on the social and political relationships that already govern ownership of and access to Indigenous knowledge, creativity, and ritual expression. Ultimately, community-based theorizing of repatriation methodologies is necessary to carry out a decolonizing repatriation of archived Indigenous voices.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122763370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190659806.013.19
Craig Breaden, Laura Wagner
In a dialogue, the authors—one an audiovisual archivist, the other a scholar-turned-archivist—discuss the challenges of processing the Radio Haiti Archive, the seemingly unusual choice of Duke as custodian of the collection, and the sometimes uneasy balance between the practices of a traditional US academic library and providing true access to audiences in Haiti and in the Haitian diaspora. Wagner and Breaden address the ways in which the Radio Haiti archive is an act of devoir de mémoire (memory work), contending that providing meaningful access to digitized Radio Haiti materials—in terms of language, technology, and culture—allows the station to, in a sense, continue to exist in its place of creation, as a bearer of Haiti’s history and heritage.
{"title":"Bringing Radio Haiti Home","authors":"Craig Breaden, Laura Wagner","doi":"10.1093/oxfordhb/9780190659806.013.19","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.19","url":null,"abstract":"In a dialogue, the authors—one an audiovisual archivist, the other a scholar-turned-archivist—discuss the challenges of processing the Radio Haiti Archive, the seemingly unusual choice of Duke as custodian of the collection, and the sometimes uneasy balance between the practices of a traditional US academic library and providing true access to audiences in Haiti and in the Haitian diaspora. Wagner and Breaden address the ways in which the Radio Haiti archive is an act of devoir de mémoire (memory work), contending that providing meaningful access to digitized Radio Haiti materials—in terms of language, technology, and culture—allows the station to, in a sense, continue to exist in its place of creation, as a bearer of Haiti’s history and heritage.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128574255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.34
Patrick F. McMurray
The afterlife of an archive determines what that archive was in the first place. In other words, the way an archive preserves, processes, analyzes, and circulates its holdings—or fails to do so—plays a central role in constituting not just the what of the archive (its ontology) but also its when (the temporalities it contains and allows). In the 1930s, Milman Parry, a scholar of Homeric epic, traveled to the former Yugoslavia to collect oral poetry from the area, hoping to use this contemporary tradition to think about the feasibility of epic song—and specifically the Iliad and Odyssey—as an oral tradition more broadly. Parry’s student, Albert Lord, published their findings on the topic, creating a massive rethinking of poetry and literature more generally. But the archive they created through their audio recordings in Yugoslavia, recorded on aluminum discs, wire spools, and reel-to-reel tape, served for decades as a kind of necessary proof of their findings, but not an archive that allowed for significant new research. In the past decade, however, a number of family members of the singers who had recorded for Parry have begun to contact the archive seeking information about recordings in the archive. This contact has led not only to meaningful encounters between these families and the archive but also to small but significant expansions in the archive’s holdings through a kind of genealogical ethnography of the archive itself and its multiple, simultaneous (and often divergent) histories.
{"title":"After the Archive","authors":"Patrick F. McMurray","doi":"10.1093/OXFORDHB/9780190659806.013.34","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.34","url":null,"abstract":"The afterlife of an archive determines what that archive was in the first place. In other words, the way an archive preserves, processes, analyzes, and circulates its holdings—or fails to do so—plays a central role in constituting not just the what of the archive (its ontology) but also its when (the temporalities it contains and allows). In the 1930s, Milman Parry, a scholar of Homeric epic, traveled to the former Yugoslavia to collect oral poetry from the area, hoping to use this contemporary tradition to think about the feasibility of epic song—and specifically the Iliad and Odyssey—as an oral tradition more broadly. Parry’s student, Albert Lord, published their findings on the topic, creating a massive rethinking of poetry and literature more generally. But the archive they created through their audio recordings in Yugoslavia, recorded on aluminum discs, wire spools, and reel-to-reel tape, served for decades as a kind of necessary proof of their findings, but not an archive that allowed for significant new research. In the past decade, however, a number of family members of the singers who had recorded for Parry have begun to contact the archive seeking information about recordings in the archive. This contact has led not only to meaningful encounters between these families and the archive but also to small but significant expansions in the archive’s holdings through a kind of genealogical ethnography of the archive itself and its multiple, simultaneous (and often divergent) histories.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127807009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.23
Carolyn M. Ramzy
This chapter examines Coptic Orthodox music culture through a gendered lens. Specifically, it investigates how the repatriation of Coptic music transcriptions has facilitated women’s song activism in male-dominated contexts. Yet, as women increasingly sound their presence in the Coptic church, they are often complicit in some of the Church’s moral narratives in containing women’s bodies, voices, and comportment in the Orthodox community. While the use of Coptic music transcriptions impart expertise status to the women who use them, this chapter argues that transcription’s colonialist genealogies and accompanying discourses of modernity also reinscribe Coptic gender hierarchies within a specific ethnoreligious nationalism that closely mirrors that of the Egyptian state. In the end, the case study of Monika Kyrillos, one of the most popular Coptic singers in Egypt, illustrates how her performances both subscribe to and also challenge Orthodox gender subjectivities through her music activism.
{"title":"Repatriating an Egyptian Modernity","authors":"Carolyn M. Ramzy","doi":"10.1093/OXFORDHB/9780190659806.013.23","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.23","url":null,"abstract":"This chapter examines Coptic Orthodox music culture through a gendered lens. Specifically, it investigates how the repatriation of Coptic music transcriptions has facilitated women’s song activism in male-dominated contexts. Yet, as women increasingly sound their presence in the Coptic church, they are often complicit in some of the Church’s moral narratives in containing women’s bodies, voices, and comportment in the Orthodox community. While the use of Coptic music transcriptions impart expertise status to the women who use them, this chapter argues that transcription’s colonialist genealogies and accompanying discourses of modernity also reinscribe Coptic gender hierarchies within a specific ethnoreligious nationalism that closely mirrors that of the Egyptian state. In the end, the case study of Monika Kyrillos, one of the most popular Coptic singers in Egypt, illustrates how her performances both subscribe to and also challenge Orthodox gender subjectivities through her music activism.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127956346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.31
Birgitta J. Johnson
Since 2004, collaborative archiving of gospel music between institutions in higher education, community groups, and individual collectors has increased. Three university archive initiatives have emerged and engaged in various partnerships with gospel music heritage communities on regional and even national levels. Archives and libraries at UCLA, USC, and Baylor University have contributed greatly to the preservation of gospel music’s recorded and ephemeral past and to the documentation of contemporary performance traditions. While two of these initiatives have faced sustainability challenges, one has expanded its impact by partnering with the Smithsonian’s National Museum of African American History and Culture. This chapter delineates key success strategies of the UCLA Gospel Archiving in Los Angeles Project, the Gospel Music History Archive of the University of Southern California, and the Baylor University Black Gospel Music Restoration Project; highlights accessibility and sustainability challenges; and illustrates the crucial role of technology in future archiving efforts.
{"title":"Mountain Highs, Valley Lows","authors":"Birgitta J. Johnson","doi":"10.1093/OXFORDHB/9780190659806.013.31","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.31","url":null,"abstract":"Since 2004, collaborative archiving of gospel music between institutions in higher education, community groups, and individual collectors has increased. Three university archive initiatives have emerged and engaged in various partnerships with gospel music heritage communities on regional and even national levels. Archives and libraries at UCLA, USC, and Baylor University have contributed greatly to the preservation of gospel music’s recorded and ephemeral past and to the documentation of contemporary performance traditions. While two of these initiatives have faced sustainability challenges, one has expanded its impact by partnering with the Smithsonian’s National Museum of African American History and Culture. This chapter delineates key success strategies of the UCLA Gospel Archiving in Los Angeles Project, the Gospel Music History Archive of the University of Southern California, and the Baylor University Black Gospel Music Restoration Project; highlights accessibility and sustainability challenges; and illustrates the crucial role of technology in future archiving efforts.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129205248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190659806.013.30
A. Perullo
This essay makes two points about digital collections. The first recognizes problems that emerge as archives present indigenous content online. In uploading indigenous songs, speeches, and documents, an archive allows that material to move from a local space with limited access to an international repository with many points of access. This chapter examines conflicts that can occur with this action, including those involving copyright law, fair use, and ethics. A second point of this chapter revolves around technology and repatriation. If repatriation means the return of material to a country of origin, then online archives never fully commit to this task. The material typically remains preserved on servers and in its original forms away from indigenous communities. Despite these ethical, legal, and technological concerns, archives should encourage the creation of digital collections as part of repatriation given the desire by many indigenous communities to preserve and promote their traditions.
{"title":"Digital Repatriation","authors":"A. Perullo","doi":"10.1093/oxfordhb/9780190659806.013.30","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.30","url":null,"abstract":"This essay makes two points about digital collections. The first recognizes problems that emerge as archives present indigenous content online. In uploading indigenous songs, speeches, and documents, an archive allows that material to move from a local space with limited access to an international repository with many points of access. This chapter examines conflicts that can occur with this action, including those involving copyright law, fair use, and ethics. A second point of this chapter revolves around technology and repatriation. If repatriation means the return of material to a country of origin, then online archives never fully commit to this task. The material typically remains preserved on servers and in its original forms away from indigenous communities. Despite these ethical, legal, and technological concerns, archives should encourage the creation of digital collections as part of repatriation given the desire by many indigenous communities to preserve and promote their traditions.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"2675 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114845745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.43
F. Gunderson, Bret D. Woods
This introduction to the Oxford Handbook of Musical Repatriation serves both as a general representation of the editors’ approach to the Handbook and as a critical analysis in its own right, posing questions and providing nuance to the concepts of heritage, preservation, and archives that emerge within this collection and in the field at large. As access to technologies shifts the preservation, control, and consumption of sonic heritage, the broad fascination with audiovisual archives has increased, as has the need to negotiate their role in various communities. This has been the general impetus for negotiating where archives “belong,” and doing the work of returning them there. That sonic heritage possesses such widespread use, appeal, and subjective potential reveals a far more complicated task for repatriation than simply returning audiovisual collections to their sites of excavation. The authors explore this complexity as a starting point for opening a dialogue about repatriation that resonates throughout the Handbook.
{"title":"Pathways toward Open Dialogues about Sonic Heritage","authors":"F. Gunderson, Bret D. Woods","doi":"10.1093/OXFORDHB/9780190659806.013.43","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.43","url":null,"abstract":"This introduction to the Oxford Handbook of Musical Repatriation serves both as a general representation of the editors’ approach to the Handbook and as a critical analysis in its own right, posing questions and providing nuance to the concepts of heritage, preservation, and archives that emerge within this collection and in the field at large. As access to technologies shifts the preservation, control, and consumption of sonic heritage, the broad fascination with audiovisual archives has increased, as has the need to negotiate their role in various communities. This has been the general impetus for negotiating where archives “belong,” and doing the work of returning them there. That sonic heritage possesses such widespread use, appeal, and subjective potential reveals a far more complicated task for repatriation than simply returning audiovisual collections to their sites of excavation. The authors explore this complexity as a starting point for opening a dialogue about repatriation that resonates throughout the Handbook.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131387412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190659806.013.39
Robin R. R. Gray
This chapter focuses on the efforts of Ts’msyen from Lax Kw’alaams to repatriate songs and associated knowledge products from the Laura Boulton Collection of Traditional and Liturgical Music. It provides an overview of the sociopolitical context that created the conditions for the songs to be taken from the community, including an analysis of the contributing role of Western property frameworks in the dispossession of Ts’msyen knowledge, heritage and rights. Based on a community-based participatory action research project with, by, and for Ts’msyen, this chapter offers decolonial considerations on the topics of ownership, access, and control from the vantage of Ts’msyen laws, ethics, and protocols.
{"title":"Repatriation and Decolonization","authors":"Robin R. R. Gray","doi":"10.1093/oxfordhb/9780190659806.013.39","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.39","url":null,"abstract":"This chapter focuses on the efforts of Ts’msyen from Lax Kw’alaams to repatriate songs and associated knowledge products from the Laura Boulton Collection of Traditional and Liturgical Music. It provides an overview of the sociopolitical context that created the conditions for the songs to be taken from the community, including an analysis of the contributing role of Western property frameworks in the dispossession of Ts’msyen knowledge, heritage and rights. Based on a community-based participatory action research project with, by, and for Ts’msyen, this chapter offers decolonial considerations on the topics of ownership, access, and control from the vantage of Ts’msyen laws, ethics, and protocols.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134334698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/oxfordhb/9780190659806.013.9
Brian Diettrich
This essay explores repatriation through the emergence of shared listening experiences. It argues that the repatriation of recorded voices is more meaningful and personal than the mere relocation of sound “objects” and more consequential than the transfer of historical media from the shelves of archival collections. The chapter focuses on case examples of repatriation from the Pacific Islands, and especially from the islands of Chuuk State in the Federated States of Micronesia. An examination of individual and community listening to recordings moves research practice toward the advocacy, responsibility, and applied potential that scholars have called for in a growing body of critical work in ethnomusicology.
{"title":"Returning Voices","authors":"Brian Diettrich","doi":"10.1093/oxfordhb/9780190659806.013.9","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190659806.013.9","url":null,"abstract":"This essay explores repatriation through the emergence of shared listening experiences. It argues that the repatriation of recorded voices is more meaningful and personal than the mere relocation of sound “objects” and more consequential than the transfer of historical media from the shelves of archival collections. The chapter focuses on case examples of repatriation from the Pacific Islands, and especially from the islands of Chuuk State in the Federated States of Micronesia. An examination of individual and community listening to recordings moves research practice toward the advocacy, responsibility, and applied potential that scholars have called for in a growing body of critical work in ethnomusicology.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121913016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-07DOI: 10.1093/OXFORDHB/9780190659806.013.41
Carla J. Shapreau
Over 175,000 of Europe’s bells were confiscated by the Nazis during World War II. A communal musical instrument, bells have permeated secular and religious life for centuries. Artistic, musical, and historical works, bells are bound up in the fabric of their nations, regions, and cities as cultural property and heritage, reflecting civic, social, and religious traditions as well as customs of bell founding and performance. Unlike the aesthetic motives that fueled Nazi-era looting of other musical material culture, bells were taken for their metal content for use in the Reich war machine, even though international law prohibited such seizures and destruction. By the war’s end, an estimated 150,000 bells were destroyed, leaving a sonic gap in the European landscape. Bells that remained were repatriated to their countries of origin. Bell losses were remembered at the International Military Tribunal at Nuremberg and remain symbols of community and culture, war and peace.
{"title":"Bells in the Cultural Soundscape","authors":"Carla J. Shapreau","doi":"10.1093/OXFORDHB/9780190659806.013.41","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190659806.013.41","url":null,"abstract":"Over 175,000 of Europe’s bells were confiscated by the Nazis during World War II. A communal musical instrument, bells have permeated secular and religious life for centuries. Artistic, musical, and historical works, bells are bound up in the fabric of their nations, regions, and cities as cultural property and heritage, reflecting civic, social, and religious traditions as well as customs of bell founding and performance. Unlike the aesthetic motives that fueled Nazi-era looting of other musical material culture, bells were taken for their metal content for use in the Reich war machine, even though international law prohibited such seizures and destruction. By the war’s end, an estimated 150,000 bells were destroyed, leaving a sonic gap in the European landscape. Bells that remained were repatriated to their countries of origin. Bell losses were remembered at the International Military Tribunal at Nuremberg and remain symbols of community and culture, war and peace.","PeriodicalId":345881,"journal":{"name":"The Oxford Handbook of Musical Repatriation","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116270977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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