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Title:Reaching through the Iron Curtain: Practicalities in the Anglo-Soviet cultural exchange of music and musicians, 1955-1975
Author(s):Miller, Thornton
Director of Research:Bashford, Christina
Doctoral Committee Chair(s):Bashford, Christina
Doctoral Committee Member(s):Buchanan, Donna A.; Koenker, Diane; Magee, Gayle S.
Department / Program:Music
Discipline:Musicology
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:Ph.D.
Genre:Dissertation
Subject(s):Cultural Exchange
Cold War
Cultural Diplomacy
Agency
Intellectual Property
United Kingdom
Soviet Union
Bolshoi Theater
Kirov Theater
English Opera Group
Royal Opera House
Covent Garden
BBC
BBC Proms
Boosey & Hawkes
Anglo-Soviet Music Press
Mezhdunarodnaya Kniga
Mezhknig
Muzyka
Benjamin Britten
Alan Bush
Djemal Dalgat, Lilian Hochhauser
Victor Hochhauser
Galina Panov, Valery Panov, Mstislav Rostropovich
Ernst Roth
Gennady Rozhdestvensky, Grigory Shneerson, Dmitri Shostakovich
Galina Vishnevskaya
Henry Wood
Goskontsert
USSR Ministry of Culture
UK Arts Council
UK Foreign Office
UK Foreign and Commonwealth Office
Abstract:This dissertation is an investigation of the position of British and Soviet music professionals (such as composers, concert agents, performers, and publishers) in the interchange of music and musicians between the United Kingdom and the Soviet Union from 1955 to 1975. This study determines how they were able to circumvent the difficulties inherent in these exchanges in order to further their own goals, and not on behalf of their governments’ political or ideological aims (which were focused explicitly on reducing Cold War tensions, and implicitly on cultural competition). A significant portion of these professionals were interested in material gain, while others sought to gain access to foreign audiences, music, and musicians. After setting the historical context for the opening of Anglo-Soviet cultural relations in the mid-1950s, I present four case studies that explore different aspects of these exchanges: 1) the concept of compatibility between the musical style of British and Soviet composers, 2) how Soviet performers and theater directors negotiated with the Soviet system to acquire and utilize their agency, 3) the attempts of both British and Soviet parties to facilitate the exchange of intellectual property, and 4) the position of British concert agents who profited from the interchange of performers between the UK and the USSR. Through the study of such events, it is possible to uncover both the capabilities and limits in how professionals from the UK and the USSR were able to pursue their own interests despite the obstacles inherent in the diplomatic enterprise that was Cold War cultural exchange.
Issue Date:2020-05-06
Type:Thesis
URI:http://hdl.handle.net/2142/107981
Rights Information:Copyright 2020 Thornton Miller
Date Available in IDEALS:2020-08-26
Date Deposited:2020-05


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