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Making New Music in Cold War Poland
Making New Music in Cold War Poland presents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. In this incisive study, Lisa Jakelski examines the festival’s institutional organization, negotiations among its various actors, and its reception in Poland, while also considering the festival’s worldwide ramifications, particularly the ways that it contributed to the cross-border movement of ideas, objects, and people (including composers, performers, official festival guests, and tourists). This book explores social interactions within institutional frameworks and how these interactions shaped the practices, values, and concepts associated with new music.
Twentieth-Century Music and Politics
When considering the role music played in the major totalitarian regimes of the century it is music's usefulness as propaganda that leaps first to mind. But as a number of the chapters in this volume demonstrate, there is a complex relationship both between art music and politicised mass culture, and between entertainment and propaganda. Nationality, self/other, power and ideology are the dominant themes of this book, whilst key topics include: music in totalitarian regimes; music as propaganda; music and national identity; émigré communities and composers; music's role in shaping identities of 'self' and 'other' and music as both resistance to and instrument of oppression. Taking the contributions together it becomes clear that shared experiences such as war, dictatorship, colonialism, exile and emigration produced different, yet clearly inter-related musical consequences.
Awangarda
In Awangarda, Lisa Cooper Vest explores how the Polish postwar musical avant-garde framed itself in contrast to its Western European counterparts. Rather than a rejection of the past, the Polish avant-garde movement emerged as a manifestation of national cultural traditions stretching back into the interwar years and even earlier into the nineteenth century. Polish composers, scholars, and political leaders wielded the promise of national progress to broker consensus across generational and ideological divides. Together, they established an avant-garde musical tradition that pushed against the limitations of strict chronological time and instrumentalized discourses of backwardness and forwardness to articulate a Polish road to modernity. This is a history that resists Cold War periodization, opening up new ways of thinking about nations and nationalism in the second half of the twentieth century.
National Union Catalog
Includes entries for maps and atlases.
Chopin Studies
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Polish Music
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Polish Perspectives
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Chopin
The beautiful wife of one expatriate nobleman, Delfina Potocka, became a pupil of Chopin's not long after he settled in Paris, and a newly discovered batch of letters to her-startlingly explicit in their eroticism-reveal unsuspected details about their relationship. Then came the nine years with George Sand-in Paris, Nohant, Majorca and Nohant again-years of marvelous creativity in Chopin's life but also the period when the onslaughts of tuberculosis, of which he was to die at the age of thirty-nine, first became menacing, exacerbated by the mounting tensions between the two lovers. Marek writes absorbingly of Chopin's relationships with Sand's son and daughter, with her former lovers, her friends and competitors-all of whom, like true Romantics, poured out their feelings in letters to (and about) one another. Chopin's last years, after his break with Sand, were marked by worsening health and increasing fame.
