In chapter 4 of "Night," why do the Nazi's allow music in the concentration camps?

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The Nazis do not allow music so much as demand it. It is one of their many twisted tools of controlling their prisoners. Making the prisoners sing and play music when such activities were far from their minds and inclinations was another way to dehumanize them. This is especially the case when the guards make the prisoners sing Nazi propaganda music and play military marches. The musicians are further dehumanized by being forbidden to play works of Beethoven, as they say Jews cannot play German music.

I also want to mention the subtle reference here to Psalm 137. This psalm tells of a time when the Jews were captive in the land of Babylon and forced by their captors to perform music for them. They ask the question of how is it possible to sing when they are in such a terrible situation. Although Elie Wiesel does not mention this reference directly, the parallels are clearly apparent.

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The Nazis featured uses of music that were intended to advance their own agenda of control and humiliation.  One way in which they perverted music in order to do this was through forced singing.  Nazi guards would often demand that their prisoners sing on command songs in unison as a show of the guards' strength and power over others.  Sometimes the songs would be in honor of the Third Reich, other times in deference to the camp, and sometimes in honor of the fatherland, Germany.  Guards used this musical approach to exhibit their sense of control and the victims' further dehumanization.  Music was also used to entertain the guards.  While the Nazis were horrific and represented the very essence of sadism, studies have shown that many Nazis were appreciative of fine music and sometimes the guards used members of the concentration camp to sing and play music that was artistically appealing to the Nazis.  The use of music and its varied applications provide another example of the wide ranging level of cruelty within Third Reich practices, and exposed in Wiesel's work.

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