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Jazz has never been simply music. From its very inception, jazz has been imbued with social meaning. This is what makes this kind of music an interesting field of study not only for the music historian, but also for the sociologist and the cultural historian. In the state socialist countries of East-Central Europe after World War II, jazz acquired a special meaning as a symbol of the American way of life, a symbol of freedom - at least for its admirers. The ruling elites and the establishment regarded jazz as music of the class enemy, a music of social degeneration. These contrasting views on…mehr

Produktbeschreibung
Jazz has never been simply music. From its very inception, jazz has been imbued with social meaning. This is what makes this kind of music an interesting field of study not only for the music historian, but also for the sociologist and the cultural historian. In the state socialist countries of East-Central Europe after World War II, jazz acquired a special meaning as a symbol of the American way of life, a symbol of freedom - at least for its admirers. The ruling elites and the establishment regarded jazz as music of the class enemy, a music of social degeneration. These contrasting views on jazz led to hot debates over jazz and the implementation of complicated policies towards jazz music and the jazz scene, which oscillated between affirmation and repression.
Autorenporträt
Gertrud Pickhan is Professor of East-Central European History at the Institute for East European Studies at Freie Universität Berlin. Rüdiger Ritter has graduated in History of East and East Central Europe and Musicology. Both conduct a research project at Freie Universität Berlin on Jazz under State Socialism.
Rezensionen
»All diese Beiträge bieten spannende und sehr unterschiedliche Ansätze an das Thema. [...] Und wenn man bedenkt, dass die Referenten hier aus ihrer laufenden Arbeit berichten, ist das gesamte Projekt nur zu beglückwünschen, schafft es doch ein Bewusstsein für eine historische Jazzforschung, die über kurz oder lang sicher über die Erfassung von Fakten und historisch-politische Zusammenhänge hinaus auch die Musik selbst betrachten wird.« (Wolfram Knauer, Jazz Index)
«Ein schöner, wichtiger Band, der in unterschiedlichen Facetten farbig zeigt, daß sich eben etwas im Jazz viel selbstverständlicher, weil unauffälliger, bescheidener und tiefer gehängt ereignete und auch noch nachwirkt, was in den abgezirkelten Kreisen der komponierenden Avantgarde und ihren (...) überwachungsfähigen und kontrollierbaren Ost-West-Begegnungsstätten (...) einfach stecken blieb.» (Volker Kalisch, Das Historisch-Politische Buch)