In the 20th century, jazz was an important artistic form. Depending on the particular European country, jazz music carried different social, political and aesthetic meanings. It brought challenges in the areas of racial issues, the politics of the Cold War between East and West, and in the exploration of boundaries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary and Poland, the situation began to change after 1956 and then 1968, when the ideologists shifted from the aesthetics of socialist realism to postmodernism. In Western countries such as France and Italy, jazz transformed from a modern to a postmodern period. This volume deals with the impact of these changes on the career development of jazz musicians – even beyond 1989 – in terms of various phenomena such as emigration, child prodigies, multiculturalism, multi-genre approaches, or female jazz musicians.
Erscheinungsdatum: 23.09.2016

nexusstc/Jazz from Socialist Realism to Postmodernism (Jazz under State Socialism)/d80e4f72b4dc66c17aed3b734742178c.pdf

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Gertrud Pickhan; Rüdiger Ritter; Yvetta Kajanová; Noé Cugny; Monika Dorna; Katarína Godárová; Peter Barrer; Lea Duffel; Geoffrey Duffel; Verlag Peter Lang (Frankfurt nad Menem)

Yvetta Kajanová; Gertrud Pickhan; Rüdiger Ritter; Peter Lang GmbH

Kajanová, Yvetta / Pickhan, Gertrud / Ritter, Rüdiger (eds.)

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Jazz : Jazz under state socialism -- vol. 5, Berlin, Germany, 2016

Jazz under state socialism, Frankfurt am Main, 2016

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Cover 1
Contents 9
Introduction 11
I. The East and The West before 1989 13
Broadcasting Jazz into the Eastern Bloc – Cold War Weapon or Cultural Exchange? The Example of Willis Conover 15
Jazz in France 1917–1929: the Missing Object of the Reception 45
Valaida Snow: The First Multi-Instrumentalist between America and Europe 61
The Emergence of the Nordic Concept as a Precursor of Emancipation and Slovak-Scandinavian Relations (1950–1970) 75
Hungarian Free Jazz: Compositional and Improvisational Structures in the Music of György Szabados, as Exemplified in “The Wedding” 85
The Jazz Section and its Influence on the Development of Regional Cultures in Czechoslovakia before 1989: the Music Scene in Olomouc 107
Jazz Artists in the Former Czechoslovak Socialist Republic and Their Conflicts with the Socialist Ideology 121
The Different Careers of Slovak and Czech Jazz Musicians in the United States – Laco Déczi, Jan Hammer, Miroslav Vitouš, Jiří Mráz 141
Classical Music and Jazz as Inspirations for Modern Music Fusions 157
Who Best Knows What Jazz Is? The Legacy of L’ubomír Tamaškovič, a Unique Slovak Jazzman in Post-Modern Times 177
II. The East and The West after 1989 199
Toni Kitanovski and Cherkezi Orchestra – Global and Local Intercourse 201
Strategies of Domination or Ways of Differentiation from Rivals in the Jazz Field 213
The Changing Face of Slovak Jazz 227
Jazz Personalities after the Downfall of the Iron Curtain: Matúš Jakabčic and His Contribution to Slovak Jazz 245
Penetration of Jazz into Various Genres and Subcultures 267
Jazz: Made in Europe 283
Peter Breiner – A Slovak Musician 289
Jazz: Labour versus Opus 305

Yvetta Kajanova, Gertrud Pickhan, Rudiger Ritter (eds.).

2022-06-08