The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century) (original) (raw)
Related papers
2014
How does music (its concepts, practices, and institutions) shape the exercise of diplomacy, the pursuit of power, and the conduct of international relations? Drawing together sixteen international scholars with backgrounds in musicology, ethnomusicology, political science, cultural history, French studies, German studies, and communication, this volume interweaves historical, theoretical, and practical perspectives. Considering such issues as what it means for political bodies to act "in concert," the question of music's "universality," the concept of free improvisation as it relates to twenty-first century political policy, the role of orchestras and traveling musicians in promoting cultural exchange, and the use of music as an agent of globalization and transnational encounter, the essays not only cross disciplinary boundaries but also geographical and musical ones.
Musical power and the East-West international diplomacy [compte-rendu]
Anthropology Book Forum, 2017
Within this book, the editor establishes a dialogue between historians and musicologists bringing the idea that music is not only a musicological object but can even be a powerful tool for historians to understand and narrate the history of international relations in the 20th century. In this vein, contributors to the book were selected among both disciplines and according to their respective interests within the related sub-disciplines of history and musicology, but also for their attention to particular concepts and theories the editor decided to highlight – genres (musical), Cold War, manipulation, communication, and the state.
Musical power and the East-West international diplomacy
2017
Within this book, the editor establishes a dialogue between historians and musicologists bringing the idea that music is not only a musicological object but can even be a powerful tool for historians to understand and narrate the history of international relations in the 20 th century. In this vein, contributors to the book were selected among both disciplines and according to their respective interests within the related sub-disciplines of history and musicology, but also for their attention to particular concepts and theories the editor decided to highlight – genres (musical), Cold War, manipulation, communication, and the state.
2017
The birth of musicology as a theoretical discipline coincided with the professionalization of international academic bodies, most famously in natural and social sciences, but also in the humanities. While presenting an important example of transnational exchange, such trend in academic research was directly affected by intergovernmental relations. The intersections between the beginnings of musicology as a theoretical discipline and diplomatic relations will be the object of this round table. The birth of musicology was closely related also to the formation of modern nation states in an age of increased global exchanges, with important implications for the internationalization of the musical repertoire and the music industry. World fairs and exhibitions, and international political-commercial initiatives shaped these experiences. Musicologists felt compelled to compare and put order into a previously unknown multitude of musical practices. Without overlooking the power dynamics unde...
Musical category, political concept, and political myth, the Concert of nations emerged within 16th- and 17th-century court culture. While the phrase may not have entered the political vocabulary before the end of the 18th century, the representation of nations in sonorous and visual ensembles is contemporary to the institution of the modern state and the first developments of the international system. As a musical category, the Concert of nations encompasses various genres- ballet, dance suite, opera, and symphony.
The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), edited by Ivana Vesić, Vesna Peno and Boštjan Udovič, 2020
The research of music and diplomacy in socialist Yugoslavia (1945–1991) is an extensive, complex and interdisciplinary task that musicologists have not dealt with so far. My study focuses on the period after the conflict with the Cominform (1948), when the Federal People’s Republic of Yugoslavia (FPRY), faced with the problem of political and economic isolation and complete severance of relations with the Soviet Union and other countries of “people’s democracies,” made a strategic turn to the countries of parliamentary democracy. Music gained a significant role as a mediator in diplomatic efforts to renew broken ties with the West. Various types of musical activities were conceived and realized within the framework of the new international cooperation with a number of countries, in a relatively short time. I based my research on the study of archival material, dealing with the role of music in the realization of the new diplomatic policy of turning to the West. I am primarily dedicated to the contextualization of musical activities, not only with respect to the foreign, but also the internal policy of the FPRY, its cultural policy, as well as certain ideological and aesthetic views on music in Yugoslavia. This was the beginning of advocating Yugoslavia’s “neutrality” and its relatively successful balancing between the blocs, with culture (and music) on its forefront. In this context, music was used as a tool of soft power in a very skillful manner. The short period between 1949 and 1952 was the outset of growing musical collaboration and exchange of ideas with the world.