Places the radicalization of art music in early post-war France in its broader socio-cultural and political context.

Cold War history has emphasized the division of Europe into two warring camps with separate ideologies and little in common. This volume presents an alternative perspective by suggesting that there were transnational networks bridging the gap and connecting like-minded people on both sides of the divide. Long before the fall of the Berlin Wall, there were institutions, organizations, and individuals who brought people from the East and the West together, joined by shared professions, ideas, and sometimes even through marriage. The volume aims at proving that the post-WWII histories of Western and Eastern Europe were entangled by looking at cases involving France, Denmark, Poland, Romania, Switzerland, and others.

This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.

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.

During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.

A Juilliard-trained musician and professor of history explores the fascinating entanglement of classical music with American foreign relations. Dangerous Melodies vividly evokes a time when classical music stood at the center of twentieth-century American life, occupying a prominent place in the nation’s culture and politics. The work of renowned conductors, instrumentalists, and singers—and the activities of orchestras and opera companies—were intertwined with momentous international events, especially the two world wars and the long Cold War. Jonathan Rosenberg exposes the politics behind classical music, showing how German musicians were dismissed or imprisoned during World War I, while numerous German compositions were swept from American auditoriums. He writes of the accompanying impassioned protests, some of which verged on riots, by soldiers and ordinary citizens. Yet, during World War II, those same compositions were no longer part of the political discussion, while Russian music, especially Shostakovich’s, was used as a tool to strengthen the US-Soviet alliance. During the Cold War, accusations of communism were leveled against members of the American music community, while the State Department sent symphony orchestras to play around the world, even performing behind the Iron Curtain. Rich with a stunning array of composers and musicians, including Karl Muck, Arturo Toscanini, Wilhelm Furtwängler, Kirsten Flagstad, Aaron Copland, Van Cliburn, and Leonard Bernstein, Dangerous Melodies delves into the volatile intersection of classical music and world politics to reveal a tumultuous history of twentieth-century America.

Very Short Introductions: Brilliant, Sharp, Inspiring The Cold War dominated international life from the end of World War II to the fall of the Berlin Wall in 1989. But how did the conflict begin? Why did it move from its initial origins in Postwar Europe to encompass virtually every corner of the globe? And why, after lasting so long, did the war end so suddenly and unexpectedly? Robert McMahon considers these questions and more, as well as looking at the legacy of the Cold War and its impact on international relations today. The Cold War: A Very Short Introduction is a truly international history, not just of the Soviet-American struggle at its heart, but also of the waves of decolonization, revolutionary nationalism, and state formation that swept the non-Western world in the wake of World War II. McMahon places the 'Hot Wars' that cost millions of lives in Korea, Vietnam, and elsewhere within the larger framework of global superpower competition. He shows how the United States and the Soviet Union both became empires over the course of the Cold War, and argues that perceived security needs and fears shaped U.S. and Soviet decisions from the beginning—far more, in fact, than did their economic and territorial ambitions. He unpacks how these needs and fears were conditioned by the divergent cultures, ideologies, and historical experiences of the two principal contestants and their allies. Covering the years 1945-1990, this second edition uses recent scholarship and newly available documents to offer a fuller analysis of the Vietnam War, the changing global politics of the 1970s, and the end of the Cold War. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.