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French and Soviet Musical Diplomacies in Post-War Austria, 1945-1955 investigates how promoting 'national' music and musicians was used as an important asset by France and the USSR in post-Nazi Austria, covering music’s role in international relations at various levels, within changing power frameworks. Bridging international relations, musical sociology, media studies, and Cold War history, four incisive chapters examine the crossroads of Soviet, French, and Austrian cultural politics and discourse-building, presented in two parts - institutions of musical diplomacy: Soviet and French cultural diplomats in comparison; sounds of music coming to Austria: Soviet and French musicians on tour. Using a communication- and media-oriented approach, this study casts new light, firstly, on the interpretative power of 'receiving' publics and, secondly, on the role of cultural transmitters at different levels. This is a valuable study for those specialising in Russian and East European music and music and politics. It will also appeal to cultural historians and all those interested in the intersections between music, international relations, and Cold War history.
Taken in their socio-political context, competitive strategies of using music as a means of asserting individual prestige have seldom been considered by historical research. This dissertation argues that the promotion of their own national music and performers was an important asset for France and the USSR. Unlike the US and the UK, the continental European Allies could claim membership of a common European musical canon, and thus legitimize their presence within Austrian soundscapes and discursive fields. Allied-occupied Austria represents a highly interesting case study, particularly due to the uniquely open forms of competition that took place between different Allies and between East and West, Austria’s complex ideological and cultural history, which stretched from multinational monarchy to Nazism, and the symbolic standing of the country as the land of music, which itself informed Allied musical policies. Drawing on documentation from the Allied administrations, bilateral cultural societies, and native Austrian institutions, the dissertation investigates the design and conduct of musical diplomacies, the agency of the actors involved, and their adaptation to Austrian expectations and reactions. Emphasizing high-brow art music, both France and the USSR supported performances of French and Russian music by Austrian musicians. However, they also launched a number of important guest tours, the reverberations of which extended widely throughout Austrian society, successfully integrating folk music and dance into French and Russian musical offerings. The reception of French and Russian music in Austria is investigated through influential daily newspapers, notably in Vienna, Salzburg, and Innsbruck. Discursive constructions of musical French- and Russianness were marked by Bildungsbürgertum conservatism and nationalism, whereas high-brow elitism established common ground between the French, Soviet and Austrian actors. Pursuing their own agendas, powerful cultural journalists allotted positions of prestige to and critically engaged with French and Soviet/Russian musical exports, notably with diverging modernities. They also diversified the images of the two countries, ascribing to them a series of nationally defined musical categories, existing independently of considerations of hard power and political entanglements. An investigation of these layers of musical transfer and interpretation will contribute to our understanding of the communicative dynamics of cultural diplomacies, multifaceted national imageries, and the nexus between local, national, inter- and transnational histories of music and culture.
Polish estrada music dominated Polish popular music throughout the state socialist period but gained little attention from popular music scholars because it was regarded as being of low quality and politically conformist. Ewa Mazierska carefully examines these assumptions, considering those institutions which catered for the needs of estrada artists and their fans, the presence of estrada in different media and the careers and styles of the leading stars, such as Mieczysław Fogg, Irena Santor, Violetta Villas, Anna German, Jerzy Połomski, Maryla Rodowicz, Zdzisława Sośnicka, Zbigniew Wodecki and Krzysztof Krawczyk. Mazierska also discusses the memory and legacy of estrada music in the post-communist period. The book draws on Poland’s cultural and political history and the history of Polish popular music and media, including television and radio. Mazierska engages with concepts such as genre, stardom and authenticity in order to capture the essence of Polish estrada music and to provide a comparison with popular music produced in other countries.
This volume focuses on the circumstances of women’s music-making in the vibrant and diverse environment of the Czech lands during the nineteenth century. It sheds light on little-known women musicians, while also considering more well-known works and composers from new woman-centric perspectives. It shows how the unique environment of Habsburg Central Europe, especially Bohemia and Lower Austria, intersects with gender to reveal hitherto unexplored networks that challenge the methodological nationalism of music studies as well as the discipline’s continued emphasis on singular canonical figures. The main areas of enquiry address aspects of performance and identity both within the Czech lands and abroad; women’s impact on social life with a view to different private, semiprivate, and public contexts and networks; and compositional aesthetics in musical works by and about women, analysed through the lens of piano works, song, choir music, and opera, always with the reception of these works in mind.
A simple question lurks amid the considerable controversy created by recent U.S. policy: what road did Americans travel to reach their current global preeminence? Taking the long historical view, Michael Hunt demonstrates that wealth, confidence, and leadership were key elements to America's ascent. In an analytic narrative that illuminates the past rather than indulges in political triumphalism, he provides crucial insights into the country's problematic place in the world today. Hunt charts America's rise to global power from the nineteenth and early twentieth centuries to a culminating multilayered dominance achieved in the mid-twentieth century that has led to unanticipated constraints and perplexities over the last several decades. Themes that figure prominently in his account include the rise of the American state and a nationalist ideology and the domestic effects and international spread of consumer society. He examines how the United States remade great power relations, fashioned limits for the third world, and shaped our current international economic and cultural order. Hunt concludes by addressing current issues, such as how durable American power really is and what options remain for America's future. His provocative exploration will engage anyone concerned about the fate of our republic.
Article abstracts and citations of reviews and dissertations covering the United States and Canada.
Presents a thirteen-volume reference guide to the geography, history, economy, government, culture and daily life of countries in Europe.
Finalist for the Pulitzer Prize • Winner of the Council on Foreign Relations Arthur Ross Book Award • One of the New York Times' Ten Best Books of the Year “Impressive . . . Mr. Judt writes with enormous authority.” —The Wall Street Journal “Magisterial . . . It is, without a doubt, the most comprehensive, authoritative, and yes, readable postwar history.” —The Boston Globe Almost a decade in the making, this much-anticipated grand history of postwar Europe from one of the world's most esteemed historians and intellectuals is a singular achievement. Postwar is the first modern history that covers all of Europe, both east and west, drawing on research in six languages to sweep readers through thirty-four nations and sixty years of political and cultural change-all in one integrated, enthralling narrative. Both intellectually ambitious and compelling to read, thrilling in its scope and delightful in its small details, Postwar is a rare joy. Judt's book, Ill Fares the Land, republished in 2021 featuring a new preface by bestselling author of Between the World and Me and The Water Dancer, Ta-Nehisi Coates.