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This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics--Lithuania, Latvia, Poland, and Russia--at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.
This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics—Lithuania, Latvia, Poland, and Russia—at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.
Crosby, Stills, Nash, and Young, with their distinct vocal harmonies, blending of rock, jazz, folk, and blues, and political and social activism, have remained one of the most enduring musical acts of the 1960s. This book examines their songs and themes, which continue to resonate with contemporary listeners, and argues that Crosby, Stills, Nash, and Young reflect part of the broader story of American culture. This appreciative volume contextualizes their work within the political climate of the late 1960s, and makes the case that the values and concerns expressed in their music thread through the American experience today.
The first regional history of music in England.
Only a few people foresaw the sudden and momentous events of 1989: within months the seemingly unshakable communist regimes of Eastern Europe were washed away and with them the postwar international order. This book gives an overview over the national revolutions and external reactions. It contains chapters on the revolutions in all major countries of the former communist bloc as well as on the responses of all major international players. The first part examines the revolutionary events - from above and from below - in Eastern Europe as well as China and their backgrounds. The second part deals with Soviet and Western perceptions and responses. The third part focuses on the aftermath of the revolutions, on societal transformations, the acceptance of the new Central European democracies to NATO and the EU, and on the memory of 1989.
The Power of Song shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic “Singing Revolution.” When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context. Watch the trailer: http://www.youtube.com/watch?v=Gh7vFFjK0rc
Part history, part autobiography, Eksteins relates the tragic story of the Baltic nations before, during, and after World War II through personal stories from his family. Photos and map.
The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western ‘open society’ by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme’s rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with ‘contemporary art’ as the aesthetic paradigm of late-capitalist market democracy.