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- W415420769 abstract "During the Cold War, the ideological split between East and West manifested itself in a stark divide in the critical response to the works of Bela Bartok. Throughout much of his career, Bartok had developed a compositional style that incorporated modernist aesthetic techniques with melodic and formal attributes of the rural folk music that he collected during his ethnomusico logical fieldwork in East Central Europe and elsewhere. Many critics in the West praised his modernist compositional innovations but associated his use of folk music with antiquated methods and reactionary Soviet policies; cultural critics in the Eastern Bloc, on the other hand, typically rejected Bartok's modernist techniques as decadent cosmopolitanism, while, at least temporarily, hailing his use of folk themes. In a new book, Music Divided: Bart6k's Legacy in Cold War Culture, Danielle Fosler-Lussier addresses this intriguing but under-explored chapter in the history of the reception of Bartok's music. As Fosler-Lussier explains, Bartok's reception during this period is unique among his peers' through an accident of biography (xiii): because of his early death in 1945, Bartok, unlike Stravinsky and others, did not have the opportunity to exercise control over the reception of his composi tions by writing prose and adapting his compositional techniques to new stylistic developments and tastes. Instead, music critics, composers, and musicologists throughout Europe and the United States were able to discuss Bartok's music freely and speculatively, offering revisionist readings of his works from opposing political and aesthetic perspectives. In Music Divided, Fosler- Lussier deftly wades through a variety of documents to demonstrate the subtle changes in individuals' opinions and government policies regard ing Bartok's music in Hungary and some Western nations during the 1940s and 1950s. Fosler-Lussier compares and juxtaposes the approaches to Bartok ad opted by central cultural figures in the movements of aesthetic modernism in the West and socialist realism in the East. She posits that this ideological divide in culture and politics, which she identifies as the dominant binary of Cold War aesthetic modes, colored all European and American musical activity during this period, including composing, listening, and performing." @default.
- W415420769 created "2016-06-24" @default.
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- W415420769 date "2008-09-15" @default.
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- W415420769 title "Review of Fosler-Lussier. 2007. Music Divided: Bartók's Legacy in Cold War Culture. Berkeley and Los Angeles: University of California Press." @default.
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- W415420769 doi "https://doi.org/10.7916/cm.v0i86.5145" @default.
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