Nailono uždanga. T. 1, Šaltasis karas, tarptautiniai mainai ir lietuvių muzika

LTReikšminiai žodžiai: Muzika; Muzikologai; Mainai; Politika; Korespondencija; Okupacija; Rytai; Vakarai; Kultūra; Bendradarbiavimas; Šaltasis karas; Music; Musicologists; Exchanges; Politics; Correspondence; Occupation; East; West; Culture; Cooperation; Cold war.

EN[...] The book focuses mainly on art music, also partly covering the amateur music movement. Even though contemporary art music, especially classical, is typically perceived as apolitical, the authors of the monograph argue that, in the development of the Cold War events and interpretations, even that specific part of musical culture was subject to the issues of political divide, ideological tension, and the impact of information and cultural wars. Therefore, I shall summarize the insights outlined in the monograph from two perspectives: the impact of international exchanges on music as a cultural practice and music as a means of international relations. In international relations, it would first be useful to distinguish between the manipulation of music in cultural diplomacy and the role and impact of music in international relations. Cold War cultural diplomacy took a different view of musical genres. The foreign cultural policy of the USSR favored the art of classical performance as a means of consolidating the achievements and prestige of Soviet culture. Lithuanian musical performance art was part of the export of music through the official channels of the USSR, which was restricted more by conjuncture and clientelism than by ideological or political factors. Meanwhile, the dissemination of original compositions experienced a much greater impact from Cold War ideological confrontations, even though attempts to define the doctrine of Soviet music or to identify ideologically unacceptable zones of Western influence failed.Whatever the case, in the music exported through Soviet vertical channels, the works of Lithuanian composers were marginalized, and even more valuable national compositions that managed to get into the propaganda stream were usually identified with official Soviet music culture. The Lithuanian SSR had more freedom in forming and controlling relations and exchanges with the Lithuanian emigrant population. Even though divided in their political views, the Lithuanian-American community of musicians, focused on in the monograph, cautiously and even negatively accepted tours by music performers from the Lithuanian SSR organized through official channels or visits by Soviet delegations. Similarly, only the musicians who supported the left-wing emigration activists or held more liberal views accepted invitations from the Lithuanian SSR authorities to visit Lithuania. Still, even in such an environment, the relations between the Soviet Lithuanian and emigrant composers and musicologists were quite intense, as the faęade of Soviet propaganda was overshadowed by concerns about national heritage and shared creative issues. Therefore, Soviet structures were exploited for the development of collaboration, although the most fruitful exchanges took place through informal contact. [...]. [Extract, p. 324-325]