Jazz from Socialist Realism to Postmodernism (Jazz under State Socialism) PDF
Preview Jazz from Socialist Realism to Postmodernism (Jazz under State Socialism)
J A Z Z 5 J A Z Z 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 poli- m tics of the Cold War between East and West, and in the exploration of bound- s aries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary i n and Poland, the situation began to change after 1956 and then 1968, when the er d ideologists shifted from the aesthetics of socialist realism to postmodernism. o In Western countries such as France and Italy, jazz transformed from a mod- m t Jazz under State Socialism ern to a postmodern period. This volume deals with the impact of these chang- s o es on the career development of jazz musicians – even beyond 1989 – in terms P of various phenomena such as emigration, child prodigies, multiculturalism, o 5 t multi-genre approaches, or female jazz musicians. m s Zi l a e R t s i l a i c o S m o r Z f z z a J · ) . s d e Yvetta Kajanová / Gertrud Pickhan / ( r e t Rüdiger Ritter (eds.) t i R AR. n / Jazz from a h k c i P Yvetta Kajanová is a Professor of Musicology at Comenius University in G. Socialist Realism Bratislava (Slovakia). / á Gertrud Pickhan is a Professor of East Central European History at the Insti- v o tute for East European Studies at Freie Universität Berlin. n Ja Rüdiger Ritter holds a PhD in History of East and East Central Europe and aj to Postmodernism K Umschlaggestaltung: Musicology. Y. © Olaf Gloeckler, Atelier Platen, Friedberg Cover Design: © Olaf Gloeckler, Atelier Platen, Friedberg www.peterlang.com ISBN 978-3-631-67173-3 Conception de la couverture du livre: © Olaf Gloeckler, Atelier Platen, Friedberg J A Z Z 5 J A Z Z 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 poli- m tics of the Cold War between East and West, and in the exploration of bound- s aries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary i n and Poland, the situation began to change after 1956 and then 1968, when the er d ideologists shifted from the aesthetics of socialist realism to postmodernism. o In Western countries such as France and Italy, jazz transformed from a mod- m t Jazz under State Socialism ern to a postmodern period. This volume deals with the impact of these chang- s o es on the career development of jazz musicians – even beyond 1989 – in terms P of various phenomena such as emigration, child prodigies, multiculturalism, o 5 t multi-genre approaches, or female jazz musicians. m s Zi l a e R t s i l a i c o S m o r Z f z z a J · ) . s d e Yvetta Kajanová / Gertrud Pickhan / ( r e t Rüdiger Ritter (eds.) t i R AR. n / Jazz from a h k c i P Yvetta Kajanová is a Professor of Musicology at Comenius University in G. Socialist Realism Bratislava (Slovakia). / á Gertrud Pickhan is a Professor of East Central European History at the Insti- v o tute for East European Studies at Freie Universität Berlin. n Ja Rüdiger Ritter holds a PhD in History of East and East Central Europe and aj to Postmodernism K Umschlaggestaltung: Musicology. Y. © Olaf Gloeckler, Atelier Platen, Friedberg Cover Design: © Olaf Gloeckler, Atelier Platen, Friedberg www.peterlang.com Conception de la couverture du livre: © Olaf Gloeckler, Atelier Platen, Friedberg Jazz from Socialist Realism to Postmodernism JAZZ Jazz under State Socialism Edited by Gertrud Pickhan and Rüdiger Ritter Vol. 5 Yvetta Kajanová / Gertrud Pickhan / Rüdiger Ritter (eds.) Jazz from Socialist Realism to Postmodernism Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available in the internet at http://dnb.d-nb.de. Library of Congress Cataloging-in-Publication Data Names: Kajanová, Yvetta. | Pickhan, Gertrud. | Ritter, Rüdiger. Title: Jazz from socialist realism to postmodernism / Yvetta Kajanová,Gertrud Pickhan, Rüdiger Ritter (eds.). Description: Frankfurt am Main : Peter Lang, 2016. | Series: Jazz under state socialism ; vol. 5 Identifiers: LCCN 2016036392 | ISBN 9783631671733 Subjects: LCSH: Jazz—Political aspects—Europe, Eastern—History. | Jazz—Europe, Eastern—History and criticism. | Socialism and music. | Communism and music Classification: LCC ML3918.J39 J385 2016 | DDC 781.65094—dc23 LC record available at https://lccn.loc.gov/2016036392 Translation: Lea & Geoffrey Duffell, Peter Barrer, Katarína Godárová, Monika Dorna, Noé Cugny Reviewers: Assoc. Prof. Vladimír Zvara, PhD., Dr. Marcus Zagorski, PhD. Gratefully acknowledging the financial support of VEGA and FG in publishing this book (VEGA Research Agency grant 1/0086/15, FG09/2016). This volume was based and developed according to the research hypotheses of the project COURAGE. This project has received funding from the European Union’s Horizon 2020 re- search and innovation program under grant agreement No 692919. ISSN 1867-724X ISBN 978-3-631-67173-3 (Print) E-ISBN 978-3-653-06579-4 (E-PDF) E-ISBN 978-3-631-69784-9 (EPUB) E-ISBN 978-3-631-69785-6 (MOBI) DOI 10.3726/978-3-653-06579-4 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2016 All rights reserved. Peter Lang Edition is an Imprint of Peter Lang GmbH. Peter Lang – Frankfurt am Main ∙ Bern ∙ Bruxelles ∙ New York ∙ Oxford ∙ Warszawa ∙ Wien All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. www.peterlang.com “The study of music during the Cold War is an active and growing field of research in music today, and this book will be an excellent contribution to this field and to jazz studies more generally. The book examines one of the richest and most interesting periods in the history of jazz, and it considers a remarkably broad selection of personalities and issues against the con- text of the Cold War. It includes both expert local studies that incorporate fascinating archival documents, and the larger global context in which the local takes shape. In addition to learning about how individuals and styles were affected by differing relations between East and West, the reader will also gain insight into the concept and history of jazz itself.” Dr. Marcus Zagorski, PhD. Contents Yvetta Kajanová Introduction ............................................................................................9 I. The East and The West before 1989 Rüdiger Ritter Broadcasting Jazz into the Eastern Bloc – Cold War Weapon or Cultural Exchange? The Example of Willis Conover ........................13 Laurent Cugny Jazz in France 1917–1929: the Missing Object of the Reception ...........43 Luca Cerchiari Valaida Snow: The First Multi-Instrumentalist between America and Europe ..............................................................................59 Igor Wasserberger The Emergence of the Nordic Concept as a Precursor of Emancipation and Slovak-Scandinavian Relations (1950–1970) ...........73 Márton Szegedi Hungarian Free Jazz: Compositional and Improvisational Structures in the Music of György Szabados, as Exemplified in “The Wedding” .................................................................................83 Jan Blüml The Jazz Section and its Influence on the Development of Regional Cultures in Czechoslovakia before 1989: the Music Scene in Olomouc ...............................................................105 Yvetta Kajanová Jazz Artists in the Former Czechoslovak Socialist Republic and Their Conflicts with the Socialist Ideology ....................................119 8 Contents Zuzana Ben Lassoued The Different Careers of Slovak and Czech Jazz Musicians in the United States – Laco Déczi, Jan Hammer, Miroslav Vitouš, Jiří Mráz .................................................................................139 Yvetta Kajanová & Zuzana Vachová Classical Music and Jazz as Inspirations for Modern Music Fusions......155 Gabriel Bianchi Who Best Knows What Jazz Is? The Legacy of L’ubomír Tamaškovič, a Unique Slovak Jazzman in Post-Modern Times ............175 II. The East and The West after 1989 Julijana Zhabeva Papazova Toni Kitanovski and Cherkezi Orchestra – Global and Local Intercourse ..........................................................................199 Igor Pietraszewski Strategies of Domination or Ways of Differentiation from Rivals in the Jazz Field ................................................................211 Yvetta Kajanová The Changing Face of Slovak Jazz .......................................................225 Miroslav Zahradník Jazz Personalities after the Downfall of the Iron Curtain: Matúš Jakabčic and His Contribution to Slovak Jazz ..........................243 Yvetta Kajanová & Daniel Hevier Jr. Penetration of Jazz into Various Genres and Subcultures ....................265 Peter Motyčka Jazz: Made in Europe ..........................................................................281 L’ubomír Chalupka Peter Breiner – A Slovak Musician ......................................................287 Piotr Milwiw-Baron Jazz: Labour versus Opus ....................................................................303
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