Review of Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956–1968, by Lisa Jakelski
Name
Richmond Pollock on Jakelski.pdf
Description
Accepted version
Size
184.22 KB
Format
Adobe PDF
Checksum (MD5)
593f188bcac2838ca30e469c5e0c36cc
Author(s)
Pollock, Emily R
Date Issued
2018
Journal
Journal of the American Musicological Society
Publisher
University of California Press
Citation
Pollock, Emily Richmond, Review of Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956-1968, by Lisa Jakelski. Journal of the American Musicological Society 71, 3 (Autumn 2018): p. 851-56 doi 10.1525/jams.2018.71.3.851 ©2018 Author(s)
Version
Author's final manuscript
Abstract
It has become second nature for scholars of twentieth-century music to acknowledge that the "modern" of musical "modernism" was socially and culturally constructed, and that the meaning and valence of "new music" were contingent. Together with this insight has come the reevaluation of a historiography governed by teleologies of progress, greater interest in the power dynamics determining musical importance, and attention to the processes by which certain musical techniques were defined as "advanced." Yet if "new music" was contingent, on what was it contingent? And if these other accompanying tropes were constructions, by whom, where, when, why, and how were they constructed? [1st paragraph]
MIT Department
Massachusetts Institute of Technology. Music and Theater Arts Section
Terms of Use
Creative Commons Attribution-Noncommercial-Share Alike
Persistent DSpace Link
DOI of Published Version
https://doi.org/10.1525/jams.2018.71.3.851
