Postwar Music History and the “Cultural Cold War”

ȃĩƢĩŦĩǛþűěĩŻŁƷʼnĩ ŻŦĢàþƢŁŻƢƷʼnĩůƿƪŎěʼnŎƪƷŻƢǢŻŁƷʼnĩĢĩěþĢĩƪþǼƷĩƢڐژړڔ܌ǜʼnŎěʼnƪĩƢǛĩƪþƪ þůþƪƷĩƢűþƢƢþƷŎǛĩŁŻƢ¦ŎěʼnþƢĢ¼þƢƿƪţŎű܌ƢĩůþŎűƪěŻűƷƢŻǛĩƢƪŎþŦܒ^ڜڛڙ First, it is certainly obvious ƷʼnþƷƷʼnĩŦþƪƷŎűłŎűǴ ŦƿĩűěĩŻŁܣěƿŦƷƿƢþŦܤƟŻŦŎƷŎěƪŻűůƿƪŎěŎű®ŻǛŎĩƷܮĢĩƟĩűĢĩűƷěŻƿűƷƢŎĩƪŻűƷʼnĩ ŻűĩʼnþűĢ܌þűĢƷʼnŻƪĩƿűĢĩƢƷʼnĩŎűǴ ŦƿĩűěĩŻŁƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪŻűƷʼnĩŻƷʼnĩƢʼnþűĢ܌ěþűʼnþƢĢŦǢ be doubted. Second, there is no denying that the music-semantic complexity of the music of ěŻůƟŻƪĩƢƪŦŎţĩSłŻƢ®ƷƢþǛŎűƪţǢ܌£ŎĩƢƢĩŻƿŦĩǬ܌'ůŎƷƢŎ®ʼnŻƪƷþţŻǛŎěʼn܌ŻƢNþűűƪ/ŎƪŦĩƢěþűűŻƷĚĩ grasped with reference to contemporary or political discourses alone – and this claim can be ůþĢĩǜŎƷʼnŻƿƷʼnþǛŎűłƷŻþƪƪƿůĩþűܹþƪĩƟƷŎěܺƪƟʼnĩƢĩŻŁþĩƪƷʼnĩƷŎěĢŎDzŁĩƢĩűěĩĢŎǛŻƢěĩĢŁƢŻůƷʼnĩ ƪŻěŎŻƟŻŦŎƷŎěþŦܒ ĩƢƷþŎűŦǢ܌¼þƢƿƪţŎűŎƪƢŎłʼnƷƷŻƪþǢƿűĩơƿŎǛŻěþŦŦǢƷʼnþƷƷʼnĩƢĩŎƪűŻƪƿěʼnƷʼnŎűłþƪ

“apolitical music”^ڜڛښ and, in particular, that there is a connection between the aesthetics of se-ƢŎþŦůƿƪŎěŎűƟŻƪƷǜþƢàĩƪƷĩƢű/ƿƢŻƟĩþűĢƷʼnĩ ŻŦĢàþƢůĩűƷþŦŎƷŎĩƪŻŁƷʼnĩƪþůĩƟĩƢŎŻĢܣŻǼƷĩű ěŻűƪŎĢĩƢĩĢܹþƟŻŦŎƷŎěþŦܺŎűƷʼnĩƟþƪƷܫŻƢěŻűǛĩƢƪĩŦǢĢĩěŎĢĩĢŦǢƟŻŦŎƷŎěþŦܤܒ^ڜڛڛ In addition, Anne C.

®ʼnƢĩDzǴ ŦĩƢʼnþƪƪʼnŻǜűěŦĩþƢŦǢƷʼnþƷþĢĢƢĩƪƪŎűłƷʼnĩŎƪƪƿĩƪŻŁěŻűƷƢŻŦþűĢŁƢĩĩĢŻůŎűƷʼnĩĢŎƪěƿƪƪŎŻű of serial and aleatoric music cannot be understood as detached from the political ideologies of the time, in which these issues arose from battles between ideological camps.^ڜڛڜ

ÃŦƷŎůþƷĩŦǢ܌ǜĩůƿƪƷĢĩǛĩŦŻƟþƟĩƢƪƟĩěƷŎǛĩƷʼnþƷěþűĢŻŠƿƪƷŎěĩƷŻƷʼnĩěŻůƟŦĩǡƢĩŦþƷŎŻűƪʼnŎƟƪ ĚĩƷǜĩĩűůƿƪŎěþűĢƪŻěŎĩƷǢŎűƷʼnĩƟŻƪƷǜþƢĩƢþܒSűƷʼnŎƪƢĩƪƟĩěƷ܌rþƢƷŎűðĩűěţƪƿłłĩƪƷƪƷʼnþƷ¼þ-ƢƿƪţŎűƟƿƷƪŁŻƢǜþƢĢþܹƢþƷʼnĩƢĚŦƿűƷĩơƿþƷŎŻűŻŁܻ ŻŦĢàþƢܼþűĢƷʼnĩƪƷƢŎěƷþűĢƪƷƢŎűłĩűƷŻƢłþűŎ-zation of serial music, which is referred to as ‘cold,’ constructed and inhumane.”^ڜڛڝ ðĩűěţƢŎłʼnƷ-ŦǢěƢŎƷŎěŎǬĩƪ¼þƢƿƪţŎűܼƪƪŎůƟŦŎŁǢŎűłþűĢĢŎƪƷŻƢƷŎűłĩơƿþƷŎŻűŻŁƷʼnĩƟŻŦĩůŎěþŦþĩƪƷʼnĩƷŎěǜƢŎƷŎűłƪ ŻŁ¦ĩűĪhĩŎĚŻǜŎƷǬǜŎƷʼnGŻĩĚĚĩŦƪܼƪƟƢŻƟþłþűĢþþűĢŻŁŻƿŦĩǬܼƪƢʼnĩƷŻƢŎěǜŎƷʼnƷʼnĩܹ ŻůůƿűŎƪƷ ŠŻƿƢűþŦŎƪůŻŁʼnŎƪĢþǢ܌ܺþƪǜĩŦŦþƪƷʼnĩĢŎþłűŻƪŎƪŻŁþŦŦĩłĩĢܹtþǬŎƢĩƪŻűþűěĩƪܺŎűNĩƢĚĩƢƷ/ŎůĩƢƷܼƪ writings.^ڜڛڞ ȃĩƢĩ Ŏƪ űŻ ơƿĩƪƷŎŻű܌ ʼnŻǜĩǛĩƢ܌ ƷʼnþƷ þű þƿƷʼnŻƢŎƷþƢŎþű ƢʼnĩƷŻƢŎě ƷʼnþƷ ƪƟŻţĩ ŻŁ Ʒʼnĩ

“worthlessness” of contrary aesthetic attitudes, or the “eradication” or “extinction” of certain ƢĩƪŎĢƿĩƪŻŁƟþƪƷƪƷǢŦĩƪ܌ŎƪŁŻƿűĢĩǛĩƢǢǜʼnĩƢĩŎűƷʼnĩǜƢŎƷŎűłƪŻŁƷʼnĩڐژڔڏƪþűĢڕڏƪܒ

Artists were sometimes well aware of the historical burden of such rhetoric. In this situ-þƷŎŻű܌ Ŏű Ʒʼnĩ ĩþƢŦǢ ڐژڔڏƪ܌ þ ǢŻƿűł ěŻůƟŻƪĩƢ ŦŎţĩ £ŎĩƢƢĩ ŻƿŦĩǬ ƷƢŎĩĢ ƷŻ ǜƢŎƷĩ ůƿƪŎě ƷʼnþƷ ǜþƪ ĩůƟʼnþƷŎěþŦŦǢĚþƪĩĢŻűʼnŎƪƷŻƢŎěþŦĩǡƟĩƢŎĩűěĩþűĢţűŻǜŦĩĢłĩ܌þůƿƪŎě

ǝŊŏĜŊģŏƫƸÿŲĜĪƫŏƸƫĪŧłłƣżŰƸŊĪÿěǀƫĪżłƸŊĪěżģǣÿŲģŏƸƫƫĪŲƫÿƸŏżŲƫŏŲtÿǭŏŏģĪżŧżŃǣÿŲģŏƸƫƣĪ-ŧÿƸŏǜĪ܉ƸŊĪßŏĜŊǣƣĪŃŏŰĪŏŲFƣÿŲĜĪ܉ÿŰǀƫŏĜܞ܏܏܏ܟƸŊÿƸĜÿŲŲżƸěĪǀƫĪģłżƣÿŲǣƠżŧŏƸŏĜÿŧŰÿĜŊŏŲÿƸŏżŲƫ܏

ڷڶڴ ®ĪĪŏŲƫǀŰŰÿƣǣ܉ÿŰżŲŃżƸŊĪƣƫ܉®ĜŊŰĪŧǭ܉ܶSŲƸƣżģǀĜƸŏżŲ܈rǀƫŏĜŏŲƸŊĪ żŧģàÿƣܷÿŲģ®ŊƣĪdzǵŧĪƣ܉ܶ żŧģàÿƣ'ŏƫ-ƫżŲÿŲĜĪ܏ܷSŲGĪƣŰÿŲܫŧÿŲŃǀÿŃĪŰǀƫŏĜżŧżŃǣ܉ƸŊĪ żŧģàÿƣŊÿƫƫżłÿƣěĪĪŲÿģģƣĪƫƫĪģŧÿƣŃĪŧǣŏŲƣĪǜŏĪǝƫżł/ÿƫƸ GĪƣŰÿŲŰǀƫŏĜŊŏƫƸżƣǣÿǽƸĪƣڍڕڐڑܕڐڔܔƫĪĪdǀŲŃŰÿŲŲ܉Kalter Krieg in der MusikÿŲģ¼ŏƫĜŊĪƣ܉ܶrǀƫŏŤŏŲģĪƣƣÿģĪƫ ŤÿŧƸĪŲfƣŏĪŃĪƫ܏ܷ

ڷڶڵ ®ĪĪ¼ÿƣǀƫŤŏŲ܉ܶǽƸĪƣǝżƣģ܈tŏĜŊƸěŧǀƸěĪǴŧĪĜŤƸܐ܉ܷڎړڒܨڎړړ܏

ڷڶڶ ®ŊƣĪdzǵŧĪƣ܉ܶ żŧģàÿƣ'ŏƫƫżŲÿŲĜĪ܉ܷڑڐܨڑڒ܏

ڷڶڷ ®ĪĪ®ŊƣĪdzǵŧĪƣ܉ܶSģĪżŧżŃŏĪƫżł®ĪƣŏÿŧŏƫŰ܉ܷ ڎڎڍܨڎڎڑ܏

ڷڶڸ ðĪŲĜŤ܉ Pierre Boulez܉ڒڐܠܶǭŏĪŰŧŏĜŊƠŧǀŰƠĪܞܟGŧĪŏĜŊƫĪƸǭǀŲŃǜżŲܸfÿŧƸĪŰfƣŏĪŃܹܞ܊ܟǀŲģģĪƣƫƸƣŏŤƸĪŲǝŏĪƫƸƣŏŲ-ŃĪŲƸĪŲƣŃÿŲŏƫÿƸŏżŲģĪƣƫĪƣŏĪŧŧĪŲrǀƫŏŤܞ܊ܟ܉ģŏĪÿŧƫܸŤÿŧƸܹ܉ŤżŲƫƸƣǀŏĪƣƸǀŲģÿŧƫܞ܊ܟŏŲŊǀŰÿŲěĪǭĪŏĜŊŲĪƸǝŏƣģܷܡ܏

ڷڶڹ ®ĪĪ¼ÿƣǀƫŤŏŲ܉Music in the Late Twentieth Century܉ڍڔ܏

SŲƸŊŏƫƫĪŲƫĪ܉ŏƸŏƫÿŲĪŰŏŲĪŲƸŧǣƠżŧŏƸŏĜÿŧŰǀƫŏĜƸŊÿƸ܉ŏŲŏƸƫŏŲƸĪƣŲÿŧżƣŃÿŲŏǭÿƸŏżŲÿŲģĪǢƠƣĪƫƫŏżŲ܉

łżŧŧżǝƫƸŊĪĜżŲĜĪƠƸżłÿܶĜżŰŰŏƸƸĪģŧŏƸĪƣÿƸǀƣĪܷŏŲƸŊĪƫĪŲƫĪżłdĪÿŲܫ£ÿǀŧ®ÿƣƸƣĪ܉ǝŏƸŊżǀƸěĪŏŲŃ ĪǢƠŧŏĜŏƸŧǣżƣĜƣǀģĪŧǣĜżŲŲĪĜƸĪģƸżÿŲǣĪǢƸĪƣŲÿŧƠżŧŏƸŏĜÿŧĜżŲƸĪŲƸ܏^ڙژڜ

And that the anti-communist cultural policy of the American occupying forces sometimes also promoted performances and institutions of the musical avant-garde^ڜڛڠ – in the sense of a de-fense of artistic freedom, more nolens volens Ʒʼnþű ǜŎƷʼn ƢĩþŦ ěŻűǛŎěƷŎŻű ܫ ĢŻĩƪ űŻƷ ůþţĩ Ʒʼnĩ ƢĩƪƿŦƷŎűłǜŻƢţƪƪŎůƟŦǢܹƟƢŻĢƿěƷƪܺŻŁƷʼnĩ ŻŦĢàþƢܒ^ڜڛڡ

Finally, following the observations of Ben Parsons^ڜڛڢþűĢðĩűěţ܌ƷʼnĩܹěʼnþűłĩþĚŎŦŎƷǢŻŁƷʼnĩ ƷĩůƟŻƢþŦěŻƢĩþƪŎűƪěƢŎĚĩĢŎűƷʼnĩůƿƪŎěþŦǜŻƢţ܌ǜʼnŎěʼnƿűŁŻŦĢƪŎűŎƷƪƟŻƪƷܮʼnŎƪƷŻƢǢ܌ܺ^ڜڜڙ must be ƷþţĩűŎűƷŻþěěŻƿűƷܒȃŎƪþƪƟĩěƷŎƪƢĩǴ ŦĩěƷĩĢþĚŻǛĩþŦŦŎűƷʼnĩƟĩƢŁŻƢůþűěĩʼnŎƪƷŻƢǢ^ڜڜښ and changing ƟƿĚŦŎěƢĩěĩƟƷŎŻűŻŁƪĩƢŎþŦůƿƪŎěþűĢŻƷʼnĩƢþǛþűƷܮłþƢĢĩůƿƪŎěĢƿƢŎűłƷʼnĩڐژڔڏƪþűĢڕڏƪܒȃŎƪ history might arguably be interpreted as a fruitful public dispute and continued revision of positions, rather than ideological “blindness.”^ڜڜڛ

ڷڶں ðĪŲĜŤ܉ Pierre Boulez܉ڒڒܠܶܞ܊ܟģŏĪƫŏĜŊǜżŰrŏƫƫěƣÿǀĜŊģĪƫfƇƣƠĪƣƫǀŲģƫĪŏŲĪƫGĪłdžŊŧƫŏŲģĪƣtÿǭŏܫSģĪżŧżŃŏĪ ǀŲģģĪŰŰŏƸŏŊƣǜĪƣǝÿŲģƸĪŲģĪƫßŏĜŊǣܫ®ǣƫƸĪŰƫŏŲFƣÿŲŤƣĪŏĜŊģŏƫƸÿŲǭŏĪƣƸ܉ÿŧƫżĪŏŲĪrǀƫŏŤܞ܊ܟ܉ģŏĪŏŲŤĪŏŲĪƣ àĪŏƫĪƠżŧŏƸŏƫĜŊĪŲrÿĜŊĪŲƫĜŊÿǽƸĪŲģŏĪŲƫƸěÿƣŃĪŰÿĜŊƸǝĪƣģĪŲŤÿŲŲ܏SŲģŏĪƫĪŰ®ŏŲŲĪŊÿŲģĪŧƸĪƫƫŏĜŊǀŰĪŏŲĪ ĪŰŏŲĪŲƸƠżŧŏƸŏƫĜŊĪrǀƫŏŤ܉ģŏĪǜżŲŏŊƣĪƣŏŲŲĪƣĪŲƣŃÿŲŏƫÿƸŏżŲǀŲģǜżŰǀƫģƣǀĜŤģÿƫfżŲǭĪƠƸĪŏŲĪƣܸĪŲŃÿŃŏĪƣ-ƸĪŲhŏƸĪƣÿƸǀƣܹŏŰ®ŏŲŲĪdĪÿŲܫ£ÿǀŧ®ÿƣƸƣĪƫƫǀĜŊƸ܉żŊŲĪŰŏƸĪŏŲĪŰĪǢƸĪƣŲĪŲƠżŧŏƸŏƫĜŊĪŲǀƷĪŲŊÿŧƸÿǀƫģƣdžĜŤŧŏĜŊ ǀŲģƠŧÿŤÿƸŏǜǜĪƣěǀŲģĪŲǭǀƫĪŏŲ܏ܷܡ܏łĜżǀƣƫĪ܉®ÿƣƸƣĪܹƫƠżƫŏƸŏżŲŏƫĪǢÿĜƸŧǣĜŊÿƣÿĜƸĪƣŏǭĪģěǣƸŊŏƫܶĪǢƸĪƣŲÿŧƠżŧŏƸŏ-ĜÿŧĜżŲƸĪŲƸ܉ܷǝŊŏĜŊżǀŧĪǭģĪĜŧŏŲĪģ܏SŲÿģģŏƸŏżŲ܉®ÿƣƸƣĪĪǢƠƣĪƫƫĪģŏŲƠǀěŧŏĜģŏƫĜǀƫƫŏżŲǝŏƸŊ¦ĪŲīhĪŏěżǝŏƸǭÿ ƫƸƣĪƫƫĪģƫŤĪƠƸŏĜŏƫŰƣĪŃÿƣģŏŲŃƸŊĪƠżƫƫŏěŏŧŏƸŏĪƫżłÿmusique engagée. See also Carroll, Music and Ideology in Cold War Europe܉ڍڌڏܨڍڐڌÿŲģGŧÿƫĪƣ܉ܶ¦ĪŲīhĪŏěżǝŏƸǭǀŲģģŏĪSģĪĪĪŏŲĪƣܸŰǀƫŏƢǀĪĪŲŃÿŃīĪ܏ܹܷ

ڷڶڻ The most thorough examination of this question can be found in Beal, New Music, New Allies. See also Beal, “Ne-gotiating Cultural Allies” ÿƫǝĪŧŧÿƫrżŲżģ܉Settling Scores܏¼ŊĪƫŊÿƣĪżłłǀŲģƫżłƸŊĪîżĜĜǀƠǣŏŲŃƠżǝĪƣŏŲƸŊĪ ěǀģŃĪƸżłƸŊĪ'ÿƣŰƫƸÿģƸ®ǀŰŰĪƣ żǀƣƫĪƫƣĪÿĜŊĪģÿŰÿǢŏŰǀŰżłÿěżǀƸڎڌƠĪƣĜĪŲƸżŲŧǣģǀƣŏŲŃƸŊƣĪĪǣĪÿƣƫ ܠڍڕڐڕܨڑڍܡܠĪÿŧ܉New Music, New Allies܉ڐڌܡ܏®ŤĪƠƸŏĜÿŧƠżƫŏƸŏżŲƫżŲƸŊŏƫƢǀĪƫƸŏżŲĜÿŲÿŧƫżěĪłżǀŲģŏŲ®ŊƣĪdzǵŧĪƣ܉

ܶ żŧģàÿƣ'ŏƫƫżŲÿŲĜĪ܉ܷݎڑڔ܏ðĪŲĜŤƫƸÿƸĪƫƸŊÿƸܶƫǀĜŊƫǀƠƠżƣƸĜżǀŧģŲĪǜĪƣƫĪƣǜĪƸŊĪƠżŧŏƸŏĜÿŧĜżŲƸƣżŧżłƠƣżŃƣĪƫ-ƫŏǜĪĜżŰƠżƫĪƣƫƫǀĜŊÿƫ£ŏĪƣƣĪżǀŧĪǭ܉ěĪĜÿǀƫĪƸŊĪǣƫżǀŃŊƸƸżƣĪÿŧŏǭĪƸŊĪŏƣƠżƫŏƸŏżŲƫĜżŰƠŧĪƸĪŧǣŏŲģĪƠĪŲģĪŲƸŧǣ żłƠżŧŏƸŏĜÿŧƫǣƫƸĪŰƫŏŲżƣģĪƣƸżǿŲÿŧŧǣĪƫĜÿƠĪƸŊĪĪǢƠŧżŏƸÿƸŏżŲżłŰǀƫŏĜ܉ÿƫƠƣÿĜƸŏĜĪģƠƣĪǜŏżǀƫŧǣěǣƸŊĪtÿǭŏ ŏģĪżŧżŃǣÿŲģƸŊĪßŏĜŊǣƫǣƫƸĪŰ܏ܷܠðĪŲĜŤ܉Pierre Boulez܉ڒړܞܶܞ܊ܟģÿƫƫĪŲƸƫƠƣĪĜŊĪŲģĪÃŲƸĪƣƫƸdžƸǭǀŲŃĪŲŲŏĪģĪƣ ƠżŧŏƸŏƫĜŊĪŲGďŲŃĪŧǀŲŃłżƣƸƫĜŊƣŏƸƸŧŏĜŊĪƣfżŰƠżŲŏƫƸĪŲǝŏĪ£ŏĪƣƣĪżǀŧĪǭģŏĪŲĪŲŤżŲŲƸĪŲ܉ǝĪŏŧģŏĪƫĪŏŊƣĪ£żƫŏ-ƸŏżŲĪŲǜżŧŧŤżŰŰĪŲǀŲÿěŊďŲŃŏŃǜżŲƠżŧŏƸŏƫĜŊĪŲ®ǣƫƸĪŰĪŲǭǀǜĪƣǝŏƣŤŧŏĜŊĪŲƫǀĜŊƸĪŲ܉ǀŰģĪƣSŲģŏĪŲƫƸŲÿŊŰĪ ģĪƣrǀƫŏŤ܉ǝŏĪƫŏĪģǀƣĜŊģŏĪtÿǭŏܫSģĪżŧżŃŏĪǀŲģģŏĪģĪƫßŏĜŊǣܫ®ǣƫƸĪŰƫǭǀǜżƣŃĪŊÿŲģŊÿěƸǝǀƣģĪ܉ĪŲģŃdžŧƸŏŃǭǀ ĪŲƸŤżŰŰĪŲ܏ܷܟܡ܏®ĪĪÿŧƫżƸŊĪŲǀÿŲĜĪģƸƣĪÿƸŰĪŲƸżłƸŊĪƫĪŏƫƫǀĪƫŏŲ ÿƣƣżŧ܉Music and Ideology in Cold War Europe, ڕڍܨڍڌڎ܉®ƠƣżǀƸ܉ܶ¼ŊĪڍڕڐڑ®ƸƣÿǜŏŲƫŤǣ'ĪěÿƸĪƫ܉ܷڍڎڌ܉ÿŲģàĪŧŧĪŲƫ, Music on the Frontline܉ڍڎڍܨڍڎڒ܏

ڷڶڼ ®ĪĪNŏĪŤĪŧ܉ܶŲŃĪŤżŰŰĪŲŏŰNŏĪƣǀŲģdĪƸǭƸܐ܉ܷڒڍ܏

ڷڶڽ £ÿƣƫżŲƫ܉ܶ®ĪƸƫÿŲģƸŊĪ ŏƸǣ܏ܷ

ڷڷڴ ðĪŲĜŤ܉ Pierre Boulez܉ݎڒڕܨړڌܠܶßĪƣďŲģĪƣěÿƣŤĪŏƸģĪƫŏŰšĪǝĪŏŧŏŃĪŲàĪƣŤĪŏŲŃĪƫĜŊƣŏĪěĪŲĪŲðĪŏƸŤĪƣŲƫ܉ģĪƣƫŏĜŊŏŲ ģĪƣtÿĜŊŃĪƫĜŊŏĜŊƸĪĪŲƸłÿŧƸĪƸܷܡ܏

ڷڷڵ ®ĪĪÃƸǭ܉ܶðǀŰƠĪƣłżƣŰÿƸŏǜĪŰNƇƣĪŲƫĪƣŏĪŧŧĪƣrǀƫŏŤ܏ܷ

ڷڷڶ łÿܶ żŧģàÿƣŧŏŲģŲĪƫƫܷ®ŊƣĪdzǵŧĪƣƫƠĪÿŤƫŏŲƣĪŧÿƸŏżŲƸżƸŊĪGĪƣŰÿŲܫŧÿŲŃǀÿŃĪŰǀƫŏĜŊŏƫƸżƣŏżŃƣÿƠŊǣżłƸŊĪڍڕړڌƫ ÿŲģڔڌƫ܉ĪƫƠĪĜŏÿŧŧǣŏŲƸŊĪǝżƣŤżł ÿƣŧ'ÿŊŧŊÿǀƫ܈ܶŲĪƫǣŰƠƸżŰżłƸŊŏƫܸěŧŏŲģŲĪƫƫܹǝÿƫƸŊĪŏŰƠŧŏĜŏƸÿƫƫǀŰƠƸŏżŲ ƸŊÿƸÿǀƸżŲżŰżǀƫŰǀƫŏĜǝÿƫÿƠżŧŏƸŏĜÿŧƠĪƣƫĪ܏¼ŊĪƫĪƣŏÿŧÿǜÿŲƸܫŃÿƣģĪǝÿƫÿĜĜżƣģŏŲŃŧǣǀŲģĪƣƫƸżżģÿƫƸŊĪĪƠŏƸż-ŰĪżłÿƣƸŏƫƸŏĜÿǀƸżŲżŰǣ܏¼ŊĪłÿĜƸƸŊÿƸƸŊĪƠżŧŏƸŏĜÿŧƫǀƠƠżƣƸłżƣÿƣƸŏƫƸŏĜÿǀƸżŲżŰǣǝÿƫŰżƣĪĜżǜĪƣƸƸŊÿŲżǜĪƣƸŏƫ żŲĪÿƫƠĪĜƸżłƸŊŏƫܸěŧŏŲģŲĪƫƫ܉ܹÿŲģŏŲƸŊŏƫƫĪŲƫĪŏŲŊĪƣĪŲƸŏŲƸŊĪƫǣƫƸĪŰ܏¼ŊĪĪdzłżƣƸƫżłàĪƫƸĪƣŲŃżǜĪƣŲŰĪŲƸƫƸż ǀƫĪĜǀŧƸǀƣÿŧƠƣżŰżƸŏżŲÿƫÿŲŏŲƫƸƣǀŰĪŲƸżłŏŲƸĪƣŲÿƸŏżŲÿŧƠżŧŏƸŏĜƫǝĪƣĪŧÿƣŃĪŧǣǀŲŤŲżǝŲÿƸƸŊĪƸŏŰĪ܉ƫǀĜŊÿƫƸŊĪ ƫǀƠƠżƣƸłżƣƸŊĪ'ÿƣŰƫƸÿģƸ®ǀŰŰĪƣ żǀƣƫĪěǣƸŊĪîżĜĜǀƠÿƸŏżŲżƣƸŊĪÿĜƸŏǜŏƸŏĪƫżłƸŊĪ SܫƫƠżŲƫżƣĪģ żŲܫ ŃƣĪƫƫłżƣ ǀŧƸǀƣÿŧFƣĪĪģżŰܠłƣżŰǝŊŏĜŊ܉ÿŰżŲŃżƸŊĪƣƫ܉ƸŊĪšżǀƣŲÿŧDer MonatÿƫǝĪŧŧÿƫƸŊĪĪƣŧŏŲĪƣFĪƫƸǝżĜŊĪŲ

ŻűƪŎĢĩƢŎűłƷʼnĩʼnŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻűþǼƷĩƢڐژړڔ܌ŎűǜʼnŎěʼnƷʼnĩĩűƷŎƢĩěŻűƷŎűĩűƷŻŁ/ƿƢŻƟĩǜþƪ þƷƷʼnĩěĩűƷĩƢŻŁþłŦŻĚþŦěŻűǴ ŦŎěƷĚĩƷǜĩĩűƷʼnĩűĩǜܹƪƿƟĩƢƟŻǜĩƢƪ܌ܺƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪþűĢƷʼnĩ

®ŻǛŎĩƷÃűŎŻű܌þƷĩűĢĩűěǢƷŻǛŎĩǜþŦŦůþűŎŁĩƪƷþƷŎŻűƪŻŁþƢƷŻƢěƿŦƷƿƢĩþƪʼnþǛŎűłþűŎůƟŦŎěŎƷŦǢłŦŻĚܮ þŦŻƢŎűƷĩƢűþƷŎŻűþŦŎůƟþěƷǜþƪƟþƢƷŎěƿŦþƢŦǢƪƷƢŻűłŎűàĩƪƷĩƢű/ƿƢŻƟĩܒȃĩŁþěƷƷʼnþƷƷʼnĩůŻƪƷ ŎűǴ ŦƿĩűƷŎþŦƷƢĩűĢŎűàĩƪƷĩƢű/ƿƢŻƟĩþűƟŻƪƷǜþƢůƿƪŎě܌ڐژڔڏƪƪĩƢŎþŦŎƪů܌ĢƢĩǜěŻűƪŎĢĩƢþĚŦǢŻű ƷʼnĩŎĢĩþŻŁþܹƟƿƢĩܺܣþűĢƷʼnĩƢĩŁŻƢĩƟŻƷĩűƷŎþŦŦǢܹþƟŻŦŎƷŎěþŦܺܤƪƷƢƿěƷƿƢĩŎƪŦŎţĩƷʼnĩűĩłþƷŎǛĩŎůþłĩ ŻŁƷʼnŎƪþŦŦܮĩűěŻůƟþƪƪŎűłƟƿĚŦŎěþűĢƟŻŦŎƷŎěþŦƢŻŦĩŻǼƷĩűþƷƷƢŎĚƿƷĩĢƷŻůƿƪŎěþűĢƷʼnĩþƢƷƪŎűƟŻƪƷ-war societies. Indeed, the fact that music, and new music in particular, was part of this power struggle and was consciously conceived of as a medium or even “weapon” in the “Cultural Cold War” has been highlighted in a number of recent studies,^ڜڜڜ though the extent to which this explicit political context shaped aesthetic and stylistic developments and decisions remains contested.

ȃĩĢĩĢŎěþƷĩĢþƷƷĩůƟƷƪŻŁŎűǴ ŦƿĩűƷŎþŦŎűƪƷŎƷƿƷŎŻűƪƪƿěʼnþƪƷʼnĩ'þƢůƪƷþĢƷ®ƿůůĩƢ ŻƿƢƪĩ ƷŻþǛŻŎĢŻǛĩƢƷƟŻŦŎƷŎěþŦƷŻƟŎěƪŻƢŎűǴ ŦƿĩűěĩƪěþűěŦĩþƢŦǢĚĩƪĩĩűþƪþěŻƿűƷĩƢܮƢĩþěƷŎŻűƷŻƷʼnĩƟŻܮ ŦŎƷŎěŎǬĩĢþƢƷŎƪƷŎěĢŻěƷƢŎűĩƪŻŁ®ŻǛŎĩƷܹƪŻěŎþŦŎƪƷƢĩþŦŎƪůܺƢĩŎůƟŦĩůĩűƷĩĢĚǢűĢƢĩŠðʼnĢþűŻǛŎű ĩþƢŦǢڐژړڗþűĢŎűƷʼnĩ£ƢþłƿĩrþűŎŁĩƪƷŻŻŁƷʼnĩƪþůĩǢĩþƢ܌þĢŻƟƷĩĢĚǢƷʼnĩ®ĩěŻűĢSűƷĩƢűþƷŎŻűþŦ ŻűłƢĩƪƪŻŁ ŻůƟŻƪĩƢƪþűĢrƿƪŎě ƢŎƷŎěƪܣڑڏܫڑژrþǢڐژړڗܤ܌ůŻĢŎŁǢŎűłĚƿƷþŦƪŻþDzȀƢůŎűłƷʼnĩ ðʼnĢþűŻǛ ĢŻěƷƢŎűĩ ܣދ SSܒڑܤܒ^ڜڜڝ Sű ĚŻƷʼn àĩƪƷĩƢű /ƿƢŻƟĩ þűĢ Ʒʼnĩ ÃűŎƷĩĢ ®ƷþƷĩƪ܌ Ʒʼnĩ ƪŻůĩƷŎůĩƪ űþŕǛĩŎĢĩþŦŎǬþƷŎŻűŻŁƪěŎĩűƷŎȀěƷʼnŻƿłʼnƷܫěŦĩþƢŦǢĩǡĩůƟŦŎȀĩĢĚǢƪĩƢŎþŦůƿƪŎěƷʼnĩŻƢǢܫþűĢƷʼnĩ optimistic image and use of technology for experimental means were further indications of a close relationship between Western new music and capitalist modernism, eventually resulting in a re-academization of musical composition, most famously instigated by Milton Babbitt’s ĩDzŁŻƢƷƪƷŻŎűƪƷþŦŦþ£ʼn'ƟƢŻłƢþůŎűěŻůƟŻƪŎƷŎŻűþƷ£ƢŎűěĩƷŻűÃűŎǛĩƢƪŎƷǢܒ^ڜڜڞ And while technolo-gical progress had equally positive connotations in the Soviet-dominated sphere, the aesthetic appropriation of the social prestige attached to the sciences in art music during the postwar period was unique to the project of the Western avant-garde.

ȃĩłĩűĩƢþŦƟŻŦŎƷŎěŎǬþƷŎŻűŎűŦþƢłĩƟþƢƷƪŻŁƷʼnĩůƿƪŎěþŦǜŻƢŦĢĢƿƢŎűłƷʼnĩڐژڕڏƪþűĢڐژږڏƪ remained closely connected to world political events and developments, particularly in divided countries such as Germany^ڜڜڟ and Korea.^ڜڜڠrŻƢĩłĩűĩƢþŦŦǢ܌ƷʼnĩƷƢĩůĩűĢŻƿƪĩDzŁĩěƷŻŁƷʼnĩ ŻŦĢ àþƢŎű/þƪƷƪŎþǜŎƷʼnƷʼnĩrþŻŎƪƷƢĩǛŻŦƿƷŎŻűŎűڐژړژ܌ƷʼnĩǜŎƷʼnĢƢþǜþŦŻŁƷʼnĩűþƷŎŻűþŦŎƪƷ ʼnŎűĩƪĩ ŁŻƢěĩƪƷŻ¼þŎǜþű܌ƷʼnĩfŻƢĩþűàþƢ܌þűĢƷʼnĩĢŎǛŎƪŎŻűŻŁfŻƢĩþ܌ƪƿłłĩƪƷƪƷʼnþƷŁƢŻůþűƪŎþűƟĩƢ-spective, cultural or musical statements in this region were considered implicitly political, all the more since a concept of “musical autonomy” had not been established in Asian countries ĪŰĪƣŃĪģܡ܏ܷܠ®ŊƣĪdzǵŧĪƣ܉ܶ'ÿŊŧŊÿǀƫǀŲģģŏĪܸŊƇŊĪƣĪfƣŏƸŏŤ܉ܹܷݎڎڑڒܞܶ/ŏŲ®ǣŰƠƸżŰģŏĪƫĪƣܸŧŏŲģŊĪŏƸܹǝÿƣģŏĪŏŰƠŧŏǭŏƸĪ ŲŲÿŊŰĪ܉ģÿƫƫģŏĪÿǀƸżŲżŰĪrǀƫŏŤƠĪƣƫĪǀŲƠżŧŏƸŏƫĜŊƫĪŏ܏'ŏĪƫĪƣŏĪŧŧĪǜÿŲƸŃÿƣģĪǝǀƣģĪģĪŰĪŲƸƫƠƣĪĜŊĪŲģ ÿŧƫSŲěĪŃƣŏdzłģĪƣŤdžŲƫƸŧĪƣŏƫĜŊĪŲǀƸżŲżŰŏĪǜĪƣƫƸÿŲģĪŲ܏'ÿƫƫģŏĪƠżŧŏƸŏƫĜŊĪÃŲƸĪƣƫƸdžƸǭǀŲŃŤdžŲƫƸŧĪƣŏƫĜŊĪƣǀƸż-ŲżŰŏĪĪŊĪƣŏŰßĪƣěżƣŃĪŲĪŲěĪƸƣŏĪěĪŲǝǀƣģĪ܉ŃĪŊƇƣƸŰŏƸǭǀģŏĪƫĪƣܸŧŏŲģŊĪŏƸܹǀŲģŏƫƸŏŲƫżłĪƣŲƫǣƫƸĪŰŏŰŰÿŲĪŲƸ ěĪģŏŲŃƸ܏®żǝÿƣĪŲģŏĪĪƫƸƣĪěǀŲŃĪŲǝĪƫƸŧŏĜŊĪƣ¦ĪŃŏĪƣǀŲŃĪŲ܉fǀŧƸǀƣłƇƣģĪƣǀŲŃÿŧƫSŲƫƸƣǀŰĪŲƸŏŲƸĪƣŲÿƸŏżŲÿŧĪƣ

£żŧŏƸŏŤĪŏŲǭǀƫĪƸǭĪŲ܉ģÿŰÿŧƫǝĪŏƸŃĪŊĪŲģǀŲěĪŤÿŲŲƸ܉ǝŏĪǭǀŰĪŏƫƠŏĪŧģŏĪÃŲƸĪƣƫƸdžƸǭǀŲŃģĪƣ'ÿƣŰƫƸďģƸĪƣFĪ-ƣŏĪŲŤǀƣƫĪģǀƣĜŊģŏĪÃ܏®܏ܫĪƫÿƸǭǀŲŃżģĪƣģŏĪ¼ďƸŏŃŤĪŏƸĪŲģĪƫ SܫŃĪłƇƣģĪƣƸĪŲ żŲŃƣĪƫƫłżƣ ǀŧƸǀƣÿŧFƣĪĪģżŰ ܠǝżƣÿǀƫǀŲƸĪƣÿŲģĪƣĪŰģŏĪðĪŏƸƫĜŊƣŏǽƸDer MonatƫżǝŏĪģŏĪĪƣŧŏŲĪƣFĪƫƸǝżĜŊĪŲŊĪƣǜżƣŃŏŲŃĪŲܡ܏ܷܟܡ

ڷڷڷ ®ĪĪ®ŊƣĪdzǵŧĪƣ܉ܶSģĪżŧżŃŏĪƫżł®ĪƣŏÿŧŏƫŰ܉ܷڎڏړ܏

ڷڷڸ fżǜĀĜƫ܉ܶ'ŏĪSŲƫƸŏƸǀƸŏżŲܨ/ŲƸƫƸĪŊǀŲŃǀŲģ®ƸƣǀŤƸǀƣ܉ܷڍڍڔܨڍڍڕÿŲģ ÿƣƣżŧŧ܉Music and Ideology in Cold War Europe, ڏړܨڐڕ܏

ڷڷڹ ¼ÿƣǀƫŤŏŲ܉Music in the Late Twentieth Century܉ڍڑڏܨڍړڏ܏

ڷڷں ®ĪĪtżĪƫŤĪ܉Musikalische Dekonstruktion and Jungmann, Kalter Krieg in der Musik.

ڷڷڻ ®ĪĪNżǝÿƣģ܉Creating Korean MusicÿŲģfŏŧŧŏĜŤ܉Hwang Byungki.

ŻűþĚƢŻþĢĩƢĚþƪŎƪĚĩŁŻƢĩڐژړڔܒȃŎƪĢŻĩƪűŻƷůĩþűƷʼnþƷůƿƪŎěþŦǜŻƢţƪŎűƟŻƪƷǜþƢ/þƪƷƪŎþ ǜĩƢĩĩǡƟŦŎěŎƷŦǢƟŻŦŎƷŎěþŦŎűłĩűĩƢþŦܗŻűƷʼnĩěŻűƷƢþƢǢ܌ƷʼnĩůþŠŻƢŎƷǢŻŁàĩƪƷĩƢűܮŻƢŎĩűƷĩĢ/þƪƷƪŎþű ěŻůƟŻƪĩƢƪ܌ŦŎţĩůŻƪƷŻŁƷʼnĩŎƢàĩƪƷĩƢűěŻŦŦĩþłƿĩƪǜĩŦŦŎűƷŻƷʼnĩڐژڕڏƪ܌ƷƢŎĩĢƷŻƢĩůþŎűþŦŻŻŁŁƢŻů political engagement.

Although global politics was thus obviously a considerable factor of synchronization and ŎűƷĩƢěŻűűĩěƷŎŻűŎűƟŻƪƷǜþƢůƿƪŎěʼnŎƪƷŻƢǢ܌ܹ ŻŦĢàþƢŎĢĩŻŦŻłŎĩƪܺƢĩůþŎűƷŻŻěƢƿĢĩþűĢŎűǴ Ŧĩǡܮ ŎĚŦĩþŁƢþůĩǜŻƢţŁŻƢłƢþƪƟŎűłƷʼnĩěŻůƟŦĩǡĩDzŁĩěƷƪŻŁůƿƪŎěþŦǜŻƢţƪþűĢƟĩƢŁŻƢůþűěĩƪŻűƷʼnĩ ĢŎǛĩƢƪĩʼnŎƪƷŻƢŎěþŦƟƢŻěĩƪƪĩƪŎűĢŎDzŁĩƢĩűƷěŻƿűƷƢŎĩƪþűĢƢĩłŎŻűƪŻŁƷʼnĩǜŻƢŦĢܒrŻƢĩŻǛĩƢ܌ŎƷƪĩĩůƪ inadequate and insensitive to the complexity of historical constellations and processes to place Ʒʼnĩ þĩƪƷʼnĩƷŎě þƟƟƢŻƟƢŎþƷŎŻű ŻŁ ƪěŎĩűƷŎȀě ƷƢĩűĢƪ ŻŁ Ʒʼnĩ ŻŦĢ àþƢ ܣĩǛĩű ŎŁ ƷʼnĩǢ ǜĩƢĩ ĚþƪĩĢ Żű ŻƢŎůƟŦŎĩĢþěĩƢƷþŎűþƿƷʼnŻƢŎƷþƢŎþűǜŻƢŦĢǛŎĩǜܤŎűܣàĩƪƷĩƢűܤƪĩƢŎþŦůƿƪŎěþűĢƷʼnĩƪŎůƿŦƷþűĩŻƿƪ control of composers and musicians in totalitarian regimes on the same level. In sum, “simul-ƷþűĩŻƿƪܺĢŎƪěŻƿƢƪĩƪŻƢƟƢŻěĩƪƪĩƪƪʼnŻƿŦĢűŻƷĚĩƪŎůƟŦŎȀĩĢĚǢþƷƷƢŎĚƿƷŎűłƷʼnĩůƷŻþěŻůůŻű ܣŎű ƷʼnŎƪ ěþƪĩ ƟŻŦŎƷŎěþŦܮŎĢĩŻŦŻłŎěþŦܤ ŁƢþůĩǜŻƢţܗ ƢþƷʼnĩƢ܌ Żűĩ ůƿƪƷ ţĩĩƟ Ʒʼnĩ ܹűŻűܮƪŎůƿŦƷþűĩŻƿƪܺ

ěʼnþƢþěƷĩƢŻŁŦŻěþŦůƿƪŎěܮƢĩŦþƷĩĢĢŎƪěŻƿƢƪĩƪŎűůŎűĢǜʼnĩűƷƢǢŎűłƷŻƪţĩƷěʼnƷʼnĩĩűƷþűłŦĩůĩűƷƪ ŻŁłŦŻĚþŦůƿƪŎěܮůþţŎűłŎűƷʼnĩƟŻƪƷǜþƢƟĩƢŎŻĢܒȃĩŁŻŦŦŻǜŎűłĢŎƪěƿƪƪŎŻűǜŎŦŦƪʼnŻǜƷʼnþƷƷʼnŎƪŎƪ all the truer if one widens the perspective from the transatlantic situation to the global. For an þƟƟƢŻƟƢŎþƷĩůƿƪŎěܮʼnŎƪƷŻƢŎěþŦþěěŻƿűƷŻŁƷʼnĩĢĩěþĢĩƪþǼƷĩƢڐژړڔ܌űƿþűěĩŎƪƢĩơƿŎƢĩĢŎűŻƢĢĩƢƷŻ þǛŻŎĢŁþŦŦŎűłĚþěţŎűƷŻƷʼnĩƟŻŦþƢŎǬþƷŎŻűƪƷʼnþƷěʼnþƢþěƷĩƢŎǬĩƷʼnŎƪʼnŎƪƷŻƢŎěþŦƟĩƢŎŻĢܒ

(Œ®Àâ³ÜŒ¨¨ƜS³ÃšœÀ¹9vâËçË­œƜ4˃œv®³ŒÀœ³ and the Tokyo 1961 East-West Music Encounter

As demonstrated in Chapter II.2, both internationalism – as a form of composers’, performers’, and audiences’ awareness of global interconnectedness and interdependence – and universal-ism – as the more or less open attempt to reach beyond the limitations of national or local ůƿƪŎěþŦěŻűȀűĩůĩűƷƪ܌łƿŎĢĩĢĚǢƢĩŦŎłŎŻƿƪ܌ƷĩěʼnűŻŦŻłŎěþŦ܌ƪƷƢƿěƷƿƢþŦ܌ŻƢĩƷʼnűŎěŎĢĩþƪþűĢěþƷĩ-gories – may be understood as countermodels to the ubiquitous construction of composers as ƢĩƟƢĩƪĩűƷþƷŎǛĩƪŻŁƪƟĩěŎȀěűþƷŎŻűþŦŻƢěƿŦƷƿƢþŦŎĢĩűƷŎƷŎĩƪĚǢůĩĢŎþ܌ʼnŎƪƷŻƢŎþűƪ܌þűĢþƿĢŎĩűěĩƪܒ NŻǜ܌Ʒʼnĩű܌ĢŎĢƷʼnĩĢŎDzŁĩƢĩűƷŁþěĩƷƪŻŁŎűƷĩƢűþƷŎŻűþŦþűĢƿűŎǛĩƢƪþŦěŻůƟŻƪŎƷŎŻűŎűƷĩƢþěƷĢƿƢŎűł ƷʼnĩƟŻƪƷǜþƢƟĩƢŎŻĢŎűƪƿěʼnþǜþǢƷʼnþƷƪŎůƿŦƷþűĩŻƿƪǜŻƢţƪþűĢĢŎƪěŻƿƢƪĩƪƢĩǛĩþŦܹűŻűܮƪŎůƿŦ-ƷþűĩŻƿƪܺ ƟƢĩěŻűĢŎƷŎŻűƪ þűĢ ĩűƷþűłŦĩĢ ʼnŎƪƷŻƢŎĩƪܓ ȃƢĩĩ ƪʼnŻƢƷ ěþƪĩ ƪƷƿĢŎĩƪ ǜŎŦŦ þĢĢƢĩƪƪ ƷʼnŎƪ ơƿĩƪƷŎŻű܌ŁŻěƿƪŎűłŻűƷʼnĩŎűǛŻŦǛĩůĩűƷŻŁƷʼnƢĩĩƟƢŻůŎűĩűƷěŻůƟŻƪĩƢƪŁƢŻůĢŎDzŁĩƢĩűƷěŻƿűƷƢŎĩƪ ܣÃűŎƷĩĢ®ƷþƷĩƪ܌dþƟþű܌SƷþŦǢܤŎűþţĩǢĩǛĩűƷŻŁƷʼnĩܹ ƿŦƷƿƢþŦ ŻŦĢàþƢܒܺ

ȃĩƷĩƢůܹŎűƷĩƢűþƷŎŻűþŦܺȀłƿƢĩĢƟƢŻůŎűĩűƷŦǢŎűůŻƪƷþěƷŎǛŎƷŎĩƪþűĢĩǛĩűƷƪʼnŻƪƷĩĢŻƢƪƿƟ-ƟŻƢƷĩĢĚǢƷʼnĩ ŻűłƢĩƪƪŁŻƢ ƿŦƷƿƢþŦFƢĩĩĢŻůܣ Fܤ܌þ SܮƪƟŻűƪŻƢĩĢŻƢłþűŎǬþƷŎŻűƷʼnþƷĩǡŎƪƷĩĢ ĚĩƷǜĩĩű ڐژڔڏ þűĢ ڐژڕږ þűĢ ƟŦþǢĩĢ þ ěƢƿěŎþŦ ƢŻŦĩ Ŏű ĩűʼnþűěŎűł ŎűƷĩƢűþƷŎŻűþŦ ƢĩŦþƷŎŻűƪ Ŏű ůƿ-ƪŎěþűĢŻƷʼnĩƢþƢƷƪĢƿƢŎűłƷʼnĩڐژڔڏƪþűĢڐژڕڏƪ܌ƟƿƢƪƿŎűłþĢĩěŎĢĩĢŦǢþűƷŎěŻůůƿűŎƪƷþłĩűĢþܒ^ڜڜڡ

ڷڷڼ ¼ŊĪƫĪĜƣĪƸǿŲÿŲĜŏŲŃżłƸŊĪ F܉łżǀŲģĪģŏŲàĪƫƸĪƣŧŏŲŏŲdǀŲĪڍڕڑڌ܉ěǣƸŊĪ S܉ǝŊŏĜŊǝÿƫŰÿŏŲŧǣĜÿƣƣŏĪģżǀƸ ƸŊƣżǀŃŊƸŊĪƫŊĪŧŧżƣŃÿŲŏǭÿƸŏżŲFÿƣǿĪŧģFżǀŲģÿƸŏżŲ܉ǝÿƫģŏƫĜŧżƫĪģŏŲÿƫĪƣŏĪƫżłÿƣƸŏĜŧĪƫŏŲƸŊĪNew York Times ŏŲƠƣŏŧڍڕڒڒÿŲģŧĪģŏŲŏƸŏÿŧŧǣƸżƸŊĪƣĪŲÿŰŏŲŃżłƸŊĪ FÿƫƸŊĪSŲƸĪƣŲÿƸŏżŲÿŧƫƫżĜŏÿƸŏżŲłżƣ ǀŧƸǀƣÿŧFƣĪĪģżŰ ܠS Fܡ܉ǝŊŏĜŊǝÿƫƸŊĪŲłǀŲģĪģěǣƸŊĪFżƣģFżǀŲģÿƸŏżŲ܏SŲڍڕړڕ܉ƸŊĪżƣŃÿŲŏǭÿƸŏżŲģŏƫƫżŧǜĪģ܏FżƣěÿƫŏĜŏŲłżƣ-mation about the Congress for Cultural Freedom see among others Coleman, The Liberal Conspiracy, Hochge-ƫĜŊǝĪŲģĪƣ܉FƣĪŏŊĪŏƸŏŲģĪƣDzłĪŲƫŏǜĪܔ, Stonor Saunders, The Cultural Cold War, Scott-Smith, The Politics of Apoliti-cal Culture, and Wellens, Music on the Frontline܏rǀƫŏĜÿŧŏŲƫƸŏƸǀƸŏżŲƫ܉ǝżƣŤƫ܉ÿŲģģĪǜĪŧżƠŰĪŲƸƫĜżŲŲĪĜƸĪģƸż the CCF are discussed, among others, in Stonor Saunders, The Cultural Cold War, Carroll, Music and Ideology in

ǢŁƿűĢŎűłŦþƢłĩůƿƪŎěŁĩƪƷŎǛþŦƪŎű£þƢŎƪܣڐژڔڑܤ܌¦Żůĩܣڐژڔړܤ܌ßĩűŎěĩܣڐژڔڗܤ܌þűĢ¼ŻţǢŻܣڐژڕڐܤ܌Ʒʼnĩ CCF aimed to demonstrate the unlimited freedom of style and expression in contemporary mu-ƪŎěŎűƷʼnĩàĩƪƷþƪěŻƿűƷĩƢĩǡþůƟŦĩƷŻƷʼnĩ®ŻǛŎĩƷĚŦŻěܼƪܹěŻűƷƢŻŦŦĩĢůƿƪŎěܺܣܹłĩłĎűłĩŦƷĩrƿƪŎţܺܤܒ^ڜڜڢ ȃŎƪŎƪěŦĩþƢŦǢĢŻěƿůĩűƷĩĢŎűƷʼnĩŎűƷƢŻĢƿěƷŎŻűĚǢƷʼnĩ FܼƪƪĩěƢĩƷþƢǢłĩűĩƢþŦ܌Ʒʼnĩ¦ƿƪƪŎþűܮůĩƢŎܮ ěþűěŻůƟŻƪĩƢtŎěŻŦþƪtþĚŻţŻǛ܌ƷŻƷʼnĩڐژڔڑ£þƢŎƪŁĩƪƷŎǛþŦ܋

'ǀƣŏŲŃƸŊŏƫĜżŰŏŲŃÿƣƸƫłĪƫƸŏǜÿŧ܉ģĪģŏĜÿƸĪģƸżŧܹ¢ǀǜƣĪģǀååĪƫŏĹĜŧĪ܉ǝĪǝŏŧŧŲżƸŊĪÿƣÿŲǣƫĜżƣĪƫ ƸŊÿƸģżŲżƸżǝĪƸŊĪŏƣƢǀÿŧŏƸŏĪƫ܉ƸŊĪŏƣǜĪƣǣƫżǀŧ܉ƸżƸŊĪłÿĜƸƸŊÿƸƸŊĪǣÿƣĪƸŊĪŰǀƫŏĜÿŲģƸŊĪÿƣƸżł ŰĪŲǝŊżŤŲżǝƸŊĪǜÿŧǀĪżłŧŏěĪƣƸǣ܏ܞ܊ܟŲģƸŊżƫĪǝŊżŧŏǜĪƸżģÿǣŤŲżǝƸŊŏƫǜÿŧǀĪżłƸŊĪŏƣƸŏŰĪƫ ěĪƸƸĪƣěĪĜÿǀƫĪƸŊĪǣŊÿǜĪƫĪĪŲŏƸ܏ܞ܊ܟSłÿŰǀƫŏĜłĪƫƸŏǜÿŧŊÿƫÿƠǀƣƠżƫĪÿŲģÿǜŏƣƸǀĪ܉ŏƸŰǀƫƸěĪƸż ĜżŰěÿƸŊżƠĪŧĪƫƫŲĪƫƫÿŲģģŏƫĜżǀƣÿŃĪŰĪŲƸ܏ܞ܊ܟ¼żƸÿŧŏƸÿƣŏÿŲŏģĪżŧżŃŏĪƫܞ܊ܟĜÿŲŲżƸģŏŰŏŲŏƫŊżŲĪ ŏŲĜŊƸŊĪŰÿƫƸĪƣǝżƣŤƫƸŊÿƸƫƠĪÿŤłżƣƸŊĪŰƫĪŧǜĪƫܨÿŲģłżƣƸŊĪĜŏǜŏŧŏǭÿƸŏżŲƸŊÿƸŃÿǜĪƸŊĪŰěŏƣƸŊ܏^ڙښږ ƟĩþţŻŁƷʼnĩ FܼƪĢĩĢŎěþƷĩĢŎűƷĩƢűþƷŎŻűþŦŎƪůǜþƪƷʼnĩ¼ŻţǢŻ/þƪƷܮàĩƪƷrƿƪŎě/űěŻƿűƷĩƢFĩƪƷŎ-ǛþŦþűĢ ŻűŁĩƢĩűěĩŎűƟƢŎŦڐژڕڐ܌ěŻܮŁƿűĢĩĢĚǢƷʼnĩFord Foundation, purportedly aiming at closing Ʒʼnĩ łþƟ ĚĩƷǜĩĩű Ʒʼnĩ ůƿƪŎěþŦ ܹ/þƪƷܺ þűĢ Ʒʼnĩ ůƿƪŎěþŦ ܹàĩƪƷܒܺ ȃĩ ŁĩƪƷŎǛþŦ þűĢ ěŻűŁĩƢĩűěĩ ʼnþĢ ĚĩĩűŎűƟŦþűűŎűłƪŎűěĩtþĚŻţŻǛܼƪƪƷþǢŎű¼ŻţǢŻŎűڐژڔڔ܌ĚƿƷƷʼnĩƢĩþŦŎǬþƷŎŻűʼnþĢĚĩĩűĢĩŦþǢĩĢ time and again due to political events and other factors.^ڜڝښȃĩ FþěƷĩĢþƪƷʼnĩŎűŎƷŎþƷŻƢþűĢěŻܮ ȀűþűěŎĩƢ܌ǜŎƷʼnŁƿűĢŎűłůþŎűŦǢŁƢŻůƷʼnĩ¦ŻěţĩŁĩŦŦĩƢFŻƿűĢþƷŎŻűþƪǜĩŦŦþƪƷʼnĩdþƟþűĩƪĩ®ŻěŎĩƷǢ ŁŻƢSűƷĩƢűþƷŎŻűþŦ ƿŦƷƿƢþŦ/ǡěʼnþűłĩܣffܤþűĢƷʼnĩ¼ŻţǢŻ ŎƷǢGŻǛĩƢűůĩűƷܒ^ڜڝڛ Both festival and ěŻűŁĩƢĩűěĩþƷƷƢþěƷĩĢʼnŎłʼnܮƟƢŻȀŦĩþƷƷĩűĢĩĩƪŁƢŻůƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪ܌/ƿƢŻƟĩ܌þűĢ/þƪƷƪŎþ (the ěŻűŁĩƢĩűěĩƟƢŻłƢþůþűĢþŦŎƪƷŻŁěŻűŁĩƢĩűěĩƟþƢƷŎěŎƟþűƷƪþƢĩƟƢŻǛŎĢĩĢŎű¼þĚŦĩڑܒڑ^ڜڝڜܤܒ/ŦŦŎŻƷƷ þƢƷĩƢ܌ ŻŦŎűrě£ʼnĩĩ܌hŻƿNþƢƢŎƪŻű܌þűĢŦþűNŻǛʼnþűĩƪƪ܌þůŻűłŻƷʼnĩƢƪ܌ƷƢþǛĩŦĩĢŁƢŻůƷʼnĩî

þŦŻűłƪŎĢĩƷʼnĩڕړܮǢĩþƢܮŻŦĢNĩűƢǢ ŻǜĩŦŦ܌ǜʼnŎŦĩhƿěŎþűŻĩƢŎŻ܌SþűűŎƪåĩűþţŎƪ܌ƢƿűŻrþĢĩƢűþ܌

þűĢŻƢŎƪŦþěʼnĩƢ܌þůŻűłŻƷʼnĩƢƪ܌ěþůĩŁƢŻů/ƿƢŻƟĩܒĩƢŎŻǜþƪŎűƷʼnĩƟƢŻěĩƪƪŻŁůŻǛŎűłʼnŎƪ ůþŎűƢĩƪŎĢĩűěĩŁƢŻůSƷþŦǢƷŻƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪ܌ǜʼnĩƢĩʼnĩǜŻƢţĩĢŁƢŻůڐژڕڑ܌ŎűŎƷŎþŦŦǢþƷrŎŦŦƪ ŻŦ-ŦĩłĩܒSűþěŻűěĩƢƷŻűڔrþǢڐژڕڐþƷƷʼnĩ/þƪƷܮàĩƪƷrƿƪŎě/űěŻƿűƷĩƢFĩƪƷŎǛþŦ܌¼ŻƪʼnŎƢƔrþǢƿǬƿůŎܼƪ űĩŻěŦþƪƪŎěþŦŻƢěʼnĩƪƷƢþŦǜŻƢţBacchanaleܣڐژڔڒܤǜþƪƟĩƢŁŻƢůĩĢƿűĢĩƢƷʼnĩĢŎƢĩěƷŎŻűŻŁ®ĩŎŠŎǬþǜþ ĚǢƷʼnĩtĩǜæŻƢţ£ʼnŎŦʼnþƢůŻűŎěܗ ŻǜĩŦŦŁŻƢǜĩűƷƷʼnĩƟĩƢŁŻƢůþűěĩŻŁʼnŎƪŻǜűǜŻƢţþƷƷʼnĩŁĩƪƷŎǛþŦ ŎűrþǢƿǬƿůŎܼƪŁþǛŻƢܣþŦĚĩŎƷűŻƷĩűƷŎƢĩŦǢǛŻŦƿűƷþƢŎŦǢܤܒ^ڜڝڝ

Cold War Europe܉£ÿƣƫżŲƫ܉ܶ®ĪƸƫÿŲģƸŊĪ ŏƸǣ܉ܷ®ŊƣĪdzǵŧĪƣ܉ܶSģĪżŧżŃŏĪƫżł®ĪƣŏÿŧŏƫŰ܉ܷĪÿŧ܉New Music, New Allies,

®ŊĪƠƠÿƣģ܉ܶ żŲƸŏŲǀŏƸǣŏŲ żŰƠżƫŏŲŃƸŊĪŰĪƣŏĜÿŲ ƣżƫƫܫ ǀŧƸǀƣÿŧ܉ܷÿŲģGŏƣżǀģ܉Nicolas Nabokov.

ڷڷڽ ģżƣŲżܹƫĪƫƫÿǣܶ'ŏĪŃĪŃďŲŃĪŧƸĪrǀƫŏŤܷǝÿƫǝƣŏƸƸĪŲŏŲڍڕڐڔŏŲŏŰŰĪģŏÿƸĪƣĪƫƠżŲƫĪƸż/ŏƫŧĪƣܹƫ£ƣÿŃǀĪrÿŲŏłĪƫƸż ÿŲģǝÿƫǿƣƫƸƠǀěŧŏƫŊĪģŏŲڍڕڑڏŏŲƸŊĪĪƣŧŏŲšżǀƣŲÿŧDer Monat, ǝŊŏĜŊǝÿƫƫǀƠƠżƣƸĪģěǣƸŊĪ FܠżƸŊĪƣšżǀƣŲÿŧƫ ƫǀƠƠżƣƸĪģěǣƸŊĪ FŏŲĜŧǀģĪģEncounter in London and Preuves ŏŲ£ÿƣŏƫܡܠ®ƸżŲżƣ®ÿǀŲģĪƣƫ܉The Cultural Cold War܉ڎڒ܉ڔڑܨڔړ܉ڍڏڔܨڍڑڔܔƫĪĪÿŧƫżłżżƸŲżƸĪڏڏڎÿěżǜĪܡ܏

ڷڸڴ tÿ쿍żǜ܉ܶSŲƸƣżģǀĜƸŏżŲđhܹ¢ǀǜƣĪģǀååĪƫŏĹĜŧĪ܉ܷڔ܉ƢǀżƸĪģŏŲ£ÿƣƫżŲƫ܉ܶ®ĪƸƫÿŲģƸŊĪ ŏƸǣ܉ܷڑڕ܏

ڷڸڵ Giroud, Nicolas Nabokov܉ڏڎڕ܏SŲŏƸŏÿŧŧǣƸŊĪĪǜĪŲƸŊÿģěĪĪŲƫĜŊĪģǀŧĪģłżƣƠƣŏŧڍڕڑڕ܏

ڷڸڶ Sěŏģ܏܉ڏڎڕܨڏڏڍ܏

ڷڸڷ ¼ŊĪĜżŲłĪƣĪŲĜĪŏƫģŏƫĜǀƫƫĪģŏŲFǀŤǀŲÿŤÿ܉ܶ ŊŏŲŰżŤǀƫǀƣǀܸƫĪŏšŏŲܹ܉ĜŊǖƫŊƕŤÿƫÿƣĪƸÿܸÿŏŤÿ܉ܹܷ®ŊĪƠƠÿƣģ܉ܶ żŲƸŏ-ŲǀŏƸǣŏŲ żŰƠżƫŏŲŃƸŊĪŰĪƣŏĜÿŲ ƣżƫƫܫ ǀŧƸǀƣÿŧ܉ܷڑڎڏܨڑڎڐ܉żƣŏż܉ܶ żŲǜĪƣŃĪŲĜĪĪƸǝĪĪŲàĪƫƸÿŲģ/ÿƫƸŏŲ ڎڌƸŊܫ ĪŲƸǀƣǣrǀƫŏĜ܉ܷڍڌڕܨڍڍڌ܉Gŏƣżǀģ܉Nicolas Nabokov܉ڏڎڕܨڏڏڎ܉ÿŲģFǀŤǀŲÿŤÿ܉ܶàżƣŧģrǀƫŏĜNŏƫƸżƣǣÿŲģSŲ-ƸĪƣĜǀŧƸǀƣÿŧŏƸǣ܏ܷ

ڷڸڸ Sachs, Henry Cowell܉ڐړڏܨڐړڐ܏

¼þĚŦĩڗܘڗܑ/þƪƷàĩƪƷrƿƪŎě/űěŻƿűƷĩƢ ŻűŁĩƢĩűěĩܒ¼ŻţǢŻږڜܱڗڗƟƢŎŦږڞڛږܒ Program and List of Participants^ڜڝڞ

Program (17–22 April 1961) 17 AprilƝ*®v˗ËÀv¨OŒÃܳ®

18 AprilƝSšŒœ––ŒÀŒ®ƒŒœ®9Ë܃v¨:³Èœ³®Ã³–ÈšŒvÃÈv®ˆÈšŒ`ŒÃÈ Ȅĩ/þƪƷĩƢűrƿƪŎěþŦ¼ƢþĢŎƷŎŻűƪ

The Music of India The Music of Indonesia

rƿƪŎěþƪþhŎĚĩƢþŦƢƷܑSƷƪ£ŦþěĩŎűƷʼnĩhŎŁĩŻŁƷʼnĩ ŻůůƿűŎƷǢ LŒ¨œ—œ³ËÃ9Ë܃ƪ4œÈËÀ—œƒv¨v®ˆLŒ¨œ—œ³ËÃ9Ë܃ƫ

?½ŒÀvȜƒv®ˆv¨¨ŒÈ9Ë܃

Concert Music

19 AprilƝ9Ë܃v¨*®ÈŒÀvƒÈœ³®ŒÈ܌Œ®ÈšŒvÃÈv®ˆÈšŒ`ŒÃÈ Western Studies of Eastern Music

Asian Music under the Impact of Western Culture Problems of the Sino-Japanese Musical Tradition Today Problems of the Indonesian Musical Tradition Today Problems of the Indian Musical Tradition Today

?ÀœŒ®Èv¨*®ðˌ®ƒŒ³®`ŒÃȌÀ®9Ë܃

Western Music in the East Western Music in Japan Western Music in India Western Music in the Philippines The Composer in Japan Today

20 April:9Ë܃v®ˆÈšŒ4œÃȌ®ŒÀƛIv®Œ¨œÃƒËÃܳ®ƞ

*®ÃÈÀ˃Ȝ³®œ®9Ë܃vÃIvÀȳ–%Œ®ŒÀv¨ˆËƒvȜ³®

21 AprilƝá½ÀŒÃܳ®v®ˆSŒƒš®œ¿ËŒœ®³®ÈŒ­½³ÀvÀâ9Ë܃Ɲ LŒ®ŒÜœ®—ÈšŒ9Ë܃v¨4v®—Ëv—Œ

áȌ®ˆœ®—ÈšŒ¨vÃ܃v¨Oâ®Èvá

¨ŒƒÈÀ³®œƒ³­½³ÃœÈœ³®

Stochastic Music

Refreshing the Auditory Perception The Philosophy of Style

®vÃȌÀ®_œŒÜ SšŒ­ŒƝIvÈÀ³®v—Œ³–9Ë܃

IvÈÀ³®v—Œ³–9Ë܃œ®ÈšŒvÃÈ Patronage of Music in the West

IÀŒÃŒ®Èœ®—ÈšŒvÃȌÀ®SÀvˆœÈœ³®Ë®ˆŒÀ³®ˆœÈœ³®Ã³–9vÃÜÃÈÀœ‚ËȜ³®

OœÈËvȜ³®³–ÀŒvȜیÀȜ®ÈšŒ*®ˆËÃÈÀœv¨O³ƒœŒÈâ 22 April: ÀœÈœƒÃƺ$³ÀË­

ڷڸڹ /ǢĪĜǀƸŏǜĪ żŰŰŏƸƸĪĪłżƣڍڕڒڍ¼żŤǣż/ÿƫƸܫàĪƫƸrǀƫŏĜ/ŲĜżǀŲƸĪƣ܉Music – East and West.

Conference Participants Draeger, Hans H.

%vÀïvÃƜL³‚ŒÀÈ

%¨³ƒ§Ɯ`œ¨¨œv­

%³ÃÈËŧœƜÀv—ËȜ®

(vÀŒÜ³³ˆƜSšŒvÀ¨³–

(vÀÀœÃ³®Ɯ4³Ë Hirashima, Masao Hood, Mantle 3Œ¨Œ­Œ®Ɯ9œ¨§³ 3œÈvçvÜvƜ9vÃv§Ë®œ

Maceda, José McPhee, Colin Miyagi, Mamoru Ruppel, Karl H.

Ov§§vƜ3ŒœÃŒœ

Tran Van Khe _v¨Œ®Èœư$ŒÀÀ³Ɯ®ç³

selected festival participants not listed as conference speakers:

ŒÀœ³Ɯ4˃œv®³

Japan Philharmonic Symphony Orchestra

%v—v§Ë®ÃŒ­‚¨Œ

%v­Œ¨v®ư®ÃŒ­‚¨Œƪv¨œƫ L³âv¨v¨¨ŒÈƪV3ƫ Royal Dancers of Thailand 3vȚv§v¨œv®ƒŒ%À³Ë½3ŒÀv¨vƪ*®ˆœvƫ

ȃŻƿłʼnŦþƢłĩŦǢŻĚƪěƿƢĩĢĚǢƷʼnĩƟƢŻƟþłþƷŎŻűþűĢĩűĢŻƢƪĩůĩűƷŻŁܹŁƢĩĩĢŻůܺŎűƷʼnĩþƢƷƪ܌ƷʼnĩʼnŎĢ-ĢĩűƟŻŦŎƷŎěþŦůŻƷŎǛĩƪŻŁƷʼnĩ FܼƪþěƷŎǛŎƷŎĩƪ܌ůþŎűŦǢŎƷƪþŎůƷŻܹěŻűƷþŎűܺŦĩǼƷŎƪƷŻƢůŻƢĩĩǡƟŦŎěܮ ŎƷŦǢƟƢŻܮ®ŻǛŎĩƷƷĩűĢĩűěŎĩƪ܌ǜĩƢĩŻĚǛŎŻƿƪƷŻůþűǢěŻůůĩűƷþƷŻƢƪþűĢƟþƢƷŎěŎƟþűƷƪŎű¼ŻţǢŻ^ڜڝڟ þƪǜĩŦŦþƪþƷƷʼnĩĩþƢŦŎĩƢ/ƿƢŻƟĩþűĩǛĩűƷƪ܌þŦƷʼnŻƿłʼnƷʼnĩ SŁƿűĢŎűłǜþƪƢĩǛĩþŦĩĢŻűŦǢŎűڐژڕڕܒ In addition, there was a general anti-American sentiment in Japan, with the previous year’s ƢþƷŎȀěþƷŎŻűŻŁƷʼnĩůƟŻ£þěƷܣ¼ƢĩþƷǢŻŁrƿƷƿþŦ ŻŻƟĩƢþƷŎŻűþűĢ®ĩěƿƢŎƷǢĚĩƷǜĩĩűƷʼnĩÃűŎƷĩĢ

®ƷþƷĩƪþűĢdþƟþű܌ڐژdƿűĩڐژڕڏܤ܌ŎűǜʼnŎěʼnƷƢŻŻƟƟŻƪƷŎűłƪŻűdþƟþűĩƪĩƷĩƢƢŎƷŻƢǢǜĩƢĩƟƢŻŦŻűłĩĢ܌

ƟƢŻǛŻţŎűłƪƷƿĢĩűƷƟƢŻƷĩƪƷƪܒ

rþűǢŻŁƷʼnĩěŻůƟŻƪĩƢƪƟþƢƷŎěŎƟþƷŎűłŎűƷʼnĩ¼ŻţǢŻěŻűŁĩƢĩűěĩŻƪƷĩűƪŎĚŦǢƪʼnþƢĩĢ/ƿƢŻƪţĩƟ-tic viewpoints, envisioning a new “universalist” musical idiom independent from dominating

/ƿƢŻƟĩþűƷƢĩűĢƪƪƿěʼnþƪƪĩƢŎþŦŎƪů܌ǜʼnŎŦĩþƢłƿŎűłŁŻƢܹƟƢĩƪĩƢǛŎűłܺűŻűܮàĩƪƷĩƢűƷƢþĢŎƷŎŻűƪ܌ƪþ-ڷڸں NÿǣÿƫŊŏ܉ܶ¼ǝżƠŏŲŏżŲƫǜĪƣƸŊĪ¼żŤǣżàżƣŧģrǀƫŏĜFĪƫƸŏǜÿŧ܈SS܏ܷ®ĪĪFǀŤǀŲÿŤÿ܉ܶ ŊŏŲŰżŤǀƫǀƣǀܸƫĪŏšŏŲܹ܉ĜŊǖƫŊƕ ŤÿƫÿƣĪƸÿܸÿŏŤÿ܏ܹܷ

ǛŎűłƷʼnĩůŁƢŻůƷʼnĩƷʼnƢĩþƷŻŁþěŻűƷþůŎűþƷŎűłàĩƪƷĩƢűŎűǴ Ŧƿĩűěĩ^ڜڝڠ – not least in order to sub-ŠĩěƷƷʼnĩůƷŻěŻůƟŻƪŎƷŎŻűþŦþƟƟƢŻƟƢŎþƷŎŻűܒ ŻǜĩŦŦǜþƪƟþƢƷŎěƿŦþƢŦǢěŦĩþƢŎűƷʼnŎƪƢĩłþƢĢ܋

ܞ܊ܟĜżŰƠżƫĪƣƫǝżǀŧģŧŏŤĪƸżłĪĪŧƸŊÿƸƸŊĪǣŊÿǜĪƸŊĪłƣĪĪģżŰƸżģƣÿǝżŲǝżƣŧģǝŏģĪŰǀƫŏĜÿŧƣĪ-ƫżǀƣĜĪƫ܉ƫżǝĪǝżǀŧģŧŏŤĪƸżģżŰżƣĪżłǝŊÿƸ'ƣ܏rÿŲƸŧĪNżżģŏƫģżŏŲŃŏŲhżƫŲŃĪŧĪƫܔƸŊÿƸŏƫ ŏŲƸƣÿŏŲŏŲŃŃƣżǀƠƫżłŰĪƣŏĜÿŲƠĪżƠŧĪƸżƠŧÿǣżƣŏĪŲƸÿŧŏŲƫƸƣǀŰĪŲƸƫłƣżŰÿŧŧŲÿƸŏżŲƫ܉ƸżƫŏŲŃŏŲ żƣŏĪŲƸÿŧŧÿŲŃǀÿŃĪƫÿŲģƫƸǣŧĪƫÿŲģĜżŰƠżƫĪƣƫǝżǀŧģŧŏŤĪƸżģƣÿǝżŲƸŊĪƸżŲĪƢǀÿŧŏƸǣżłĜĪƣƸÿŏŲ żƣŏĪŲƸÿŧŏŲƫƸƣǀŰĪŲƸƫ܏àĪǝżǀŧģŧŏŤĪƸżŏŲĜŧǀģĪƸŊŏƫÿŲģƸżŊÿǜĪÿǝżƣŧģǝŏģĪÿŲģŏŲƸĪƣŲÿƸŏżŲÿŧ ǿĪŧģěǣģƣÿǝŏŲŃżŲƸŊĪŰǀƫŏĜǝŊŏĜŊÿƠƠĪÿŧƫƸżƠĪżƠŧĪÿŧŧżǜĪƣƸŊĪǝżƣŧģ܏^ڙښڞ

'ƿƢŎűłƷʼnĩěŻűŁĩƢĩűěĩ܌ĩƷʼnűŻůƿƪŎěŻŦŻłŎƪƷƪþűĢěŻůƟŻƪĩƢƪƷʼnĩƢĩŁŻƢĩƿűþűŎůŻƿƪŦǢĢĩůþűĢĩĢ the preservation of “non-Western” traditional musical practices, which to them appeared un-der acute threat in the rapidly Westernizing Asian countries.^ڜڝڢȃŎƪŁŻěƿƪŻűƷʼnĩƟƢĩƪĩƢǛþƷŎŻű ŻŁůƿƪŎěþŦƷƢþĢŎƷŎŻűƪĢŎĢűŻƷŻěěƿƢܹĚǢěŻŎűěŎĢĩűěĩ܌ܺĚƿƷǜþƪƟþƢƷŻŁþŦþƢłĩƢƷƢĩűĢŎűƢĩŎłű ěƿŦƷƿƢþŦƟŻŦŎěǢþƷƷʼnĩƷŎůĩ܋

/ƫƠĪĜŏÿŧŧǣÿƸƸŊĪƸŏŰĪǝŊĪŲƸŊĪßŏĪƸŲÿŰàÿƣ܉ĜŏǜŏŧƣŏŃŊƸƫŰżǜĪŰĪŲƸƫ܉ÿŲģƣĪǜĪŧÿƸŏżŲƫÿěżǀƸĜż-vert CIA interventions in Africa, Asia and Latin America shattered faith in liberal universalism in łÿǜżǀƣżłĜǀŧƸǀƣÿŧƣĪŧÿƸŏǜŏƫŰ܉ܞFżƣģFżǀŲģÿƸŏżŲܟÿģŰŏŲŏƫƸƣÿƸżƣƫĜżŲƫŏģĪƣĪģŏŲǜĪƫƸŰĪŲƸŏŲŧżĜÿŧ ŊĪƣŏƸÿŃĪƫÿƫÿƸÿĜƸŏĜżłƫżżƸŊŏŲŃƸŊżƫĪǝŊżĜƣŏƸŏĜŏƫĪģƸŊĪŰĪƣŏĜÿŲŰżģĪƣŲŏǭÿƸŏżŲƠƣżŃƣÿŰŰĪƫ łżƣěĪŏŲŃƸżżżŲĪܫƫŏģĪģŧǣłżĜǀƫĪģżŲĪĜżŲżŰŏĜÿŲģƠżŧŏƸŏĜÿŧģĪǜĪŧżƠŰĪŲƸÿƸƸŊĪĪǢƠĪŲƫĪżłƸŊĪ ŏŲģŏŃĪŲżǀƫƸƣÿģŏƸŏżŲƫƸŊĪǣƫżǀŃŊƸƸżƫǀƫƸÿŏŲ܏^ڙڛږ

A memorandum written at the end of the conference outlined the project of an “International SűƪƷŎƷƿƷĩŁŻƢ ŻůƟþƢþƷŎǛĩrƿƪŎě®ƷƿĢŎĩƪܒܺ¼ǜŻǢĩþƢƪŦþƷĩƢ܌Ŏűڐژڕڒ܌ǜʼnĩűtþĚŻţŻǛǜþƪŎűǛŎƷĩĢĚǢ the Mayor of Berlin, Willy Brandt, to act as advisor to the city government on cultural matters,^ڜڞښ ƷʼnĩĩƢŦŎűSűƷĩƢűþƷŎŻűþŦSűƪƷŎƷƿƷĩŻŁ ŻůƟþƢþƷŎǛĩrƿƪŎě®ƷƿĢŎĩƪþűĢ'ŻěƿůĩűƷþƷŎŻűܣŎŎěůƪĢ܌Ŏű ڐژژڐƢĩűþůĩĢSűƷĩƢűþƷŎŻűþŦSűƪƷŎƷƿƷĩŁŻƢ¼ƢþĢŎƷŎŻűþŦrƿƪŎěܤǜþƪŁŻƿűĢĩĢ܌ȀűþűěĩĢƷʼnƢŻƿłʼnƷʼnĩ FŻƢĢFŻƿűĢþƷŎŻűþűĢĢŎƢĩěƷĩĢĚǢŦþŎű'þűŎĪŦŻƿܣƷʼnĩSűƪƷŎƷƿƷĩǜþƪěŦŻƪĩĢŎűڐژژڕܤܒ^ڜڞڛ

'ĩƪƟŎƷĩƷʼnĩƪĩěŻűűĩěƷŎŻűƪ܌ŎƷǜŻƿŦĢěŦĩþƢŦǢůŎƪƪƷʼnĩƟŻŎűƷƷŻþƷƷƢŎĚƿƷĩƷʼnĩŎűƷĩƢűþƷŎŻűþŦŻƢ even universalist claims of both serial music and countertrends such as Henry Cowell’s ethni-ěþŦŦǢĢĩȀűĩĢƿűŎǛĩƢƪþŦŎƪůĩǡěŦƿƪŎǛĩŦǢƷŻŎűƪƷŎƷƿƷŎŻűþŦþűĢƟŻŦŎƷŎěþŦʼnŎƪƷŻƢǢþűĢĢĩűŎłƢþƷĩƷʼnĩƪĩ ڷڸڻ ®ĪĪ żǝĪŧŧ܉ܶƣŏĪŲƸÿŧSŲǵŧǀĪŲĜĪżŲàĪƫƸĪƣŲrǀƫŏĜ܉ܷ®ŊĪƠƠÿƣģܶ żŲƸŏŲǀŏƸǣŏŲ żŰƠżƫŏŲŃƸŊĪŰĪƣŏĜÿŲ ƣżƫƫܫ

ǀŧƸǀƣÿŧ܉ܷڑڎڏܨڑڎڐ܏

ڷڸڼ NĪŲƣǣ żǝĪŧŧŏŲ“Discussions. Music and the Listener,”ŏŲ܈/ǢĪĜǀƸŏǜĪ żŰŰŏƸƸĪĪłżƣڍڕڒڍ¼żŤǣż/ÿƫƸܫàĪƫƸrǀƫŏĜ Encounter, Music – East and West܉ڍڔڏܨڎڌڍ܈ݎڍڕړ܏

ڷڸڽ ܶtżŲܫàĪƫƸĪƣŲܷ ǝŏƸŊŏŲ ƸŊŏƫ ĜżŲłĪƣĪŲĜĪ ģĪŲżƸĪƫ ܶƫŏÿŲܷ ĪǢĜŧǀƫŏǜĪŧǣ܉ ƫŏŲĜĪ łƣŏĜÿŲ ÿŲģ hÿƸŏŲ ŰĪƣŏĜÿŲ ŰǀƫŏĜ ǝĪƣĪĜżŲƫƠŏĜǀżǀƫŧǣÿěƫĪŲƸłƣżŰƸŊĪģŏƫĜǀƫƫŏżŲ܏

ڷڹڴ hÿŲŃĪŲŤÿŰƠ܉ܶܠ'ŏƫܡ żŲŲĪĜƸŏŲŃ ǀŧƸǀƣĪƫ܉ ƣĪÿƸŏŲŃ'ƣĪÿŰǝżƣŧģƫ܉ܷڎڎڍ܏

ڷڹڵ See Stonor Saunders, The Cultural Cold War܉ڎڕڑܨڎڕڒÿŲģGŏƣżǀģ܉Nicolas Nabokov܉ڏڐڍܨڏړڍ܏

ڷڹڶ ܶ£ƣżƠżƫÿŧěǣƸŊĪ®ƸÿŲģŏŲŃ żŰŰŏƸƸĪĪżłڍڕڒڍ¼żŤǣż/ÿƫƸܫàĪƫƸrǀƫŏĜ/ŲĜżǀŲƸĪƣ żŲłĪƣĪŲĜĪ܉ܷŏŲ܈/ǢĪĜǀƸŏǜĪ żŰŰŏƸƸĪĪłżƣڍڕڒڍ¼żŤǣż/ÿƫƸܫàĪƫƸrǀƫŏĜ/ŲĜżǀŲƸĪƣ܉Music – East and West܉ڎڎړܨڎڎڔ܏¼ŊĪ®ƸÿŲģŏŲŃ żŰŰŏƸ- ƸĪĪŏŲĜŧǀģĪģƠƣżŰŏŲĪŲƸŲÿŰĪƫƫǀĜŊÿƫæĪŊǀģŏrĪŲǀŊŏŲ܉®ÿěǀƣƕrżƣżŏ܉ŧÿŏŲ'ÿŲŏīŧżǀ܉ÿŲģNÿŲƫN܏®ƸǀĜŤĪŲ-schmidt (see Giroud, Nicolas Nabokov܉ڏڏڎܡ܏¼ŊĪƠŧÿŲłżƣƫǀĜŊÿŲŏŲƫƸŏƸǀƸĪǝĪŲƸěÿĜŤƸżÿŰĪĪƸŏŲŃżłtÿ쿍żǜ ǝŏƸŊŧÿŏŲ'ÿŲŏīŧżǀŏŲrÿģƣÿƫŏŲڍڕڑڑܠŏěŏģ܏܉ڏڐڒܡÿŲģǝÿƫƠÿƣƸżłÿĜżŰƠƣĪŊĪŲƫŏǜĪĪdzłżƣƸěǣƸŊĪ FƸżƫǀƫƸÿŏŲܫ ÿěŧǣƫƸƣĪŲŃƸŊĪŲĪƣŧŏŲÿƫƸŊĪŧżĜÿƸŏżŲżłܶłƣĪĪܷĜǀŧƸǀƣĪ܉ĪƫƠĪĜŏÿŧŧǣÿǽƸĪƣƸŊĪĪƣŧŏŲàÿŧŧŊÿģěĪĪŲěǀŏŧƸܔƸŊĪĪƣ-liner Festspiele also emerged from this process. See Stonor Saunders, The Cultural Cold War܉ڎڕڑܨڎڕڒ܏

ŦþƢłĩŦǢƿűƟŻƟƿŦþƢƪƷǢŦĩƪþƪěŻƢƢƿƟƷĩĢĚǢƷʼnĩŎĢĩŻŦŻłŎĩƪŻŁƷʼnĩŎƢĢþǢ܋ܹSƷŎƪĩþƪǢƷŻĢŎƪůŎƪƪƷʼnĩ ůƿƪŎěþŦƪƷǢŦĩƪƷʼnþƷǜĩűĩǛĩƢŦŎţĩĢþűǢǜþǢ܌ŎŁǜĩěþűěŻűǛŎűěĩŻƿƢƪĩŦǛĩƪƷʼnþƷƷʼnĩǢŻűŦǢĩǡŎƪƷĩĢþƪ part of a CIA plot.”^ڜڞڜ However, such contexts reveal the important insight that “advanced music ŎƪűŻƷűĩƿƷƢþŦܣþƿƷŻűŻůŻƿƪܤŻƢĩǛĩűűĩěĩƪƪþƢŎŦǢěƢŎƷŎěþŦ܌ƪŎůƟŦǢĚǢǛŎƢƷƿĩŻŁŎƷƪŎĢŎŻůܒܺ^ڜڞڝ A closer ŦŻŻţþƷƷʼnƢĩĩěŻůƟŻƪĩƢƪŎűǛŻŦǛĩĢŎűƷʼnĩڐژڕڐěŻűŁĩƢĩűěĩþűĢŁĩƪƷŎǛþŦǜŎŦŦĩŦþĚŻƢþƷĩŻűƷʼnŎƪƟŻŎűƷ܌

ǜʼnŎŦĩʼnŎűƷŎűłþƷƷʼnĩŎƢܹűŻűܮƪǢűěʼnƢŻűŻƿƪܺůŻƷŎǛĩƪþűĢƟƢĩƪƿůƟƷŎŻűƪ܋NĩűƢǢ ŻǜĩŦŦܣڐڗژږܫڐژڕڔܤ܌

¼ŻƪʼnŎƢƔrþǢƿǬƿůŎܣڐژڑژܫڐژژږܤ܌þűĢhƿěŎþűŻĩƢŎŻܣڐژڑڔܫڑڏڏڒܤƟþƢƷŎěŎƟþƷĩĢŎűܣŻƢěþűĚĩþƷŦĩþƪƷ þƪƪŻěŎþƷĩĢ ǜŎƷʼnܤ Ʒʼnĩ ڐژڕڐ ¼ŻţǢŻ FĩƪƷŎǛþŦ þűĢ ŻűŁĩƢĩűěĩ܌ ǜŎƷʼn Ʒʼnĩ ƪŎǡƷǢܮŁŻƿƢܮǢĩþƢܮŻŦĢ ŻǜĩŦŦ ĚĩŎűłƟƢŻůŻƷĩĢþƪþůþŠŻƢȀłƿƢĩĚǢƷʼnĩůĩƢŎěþűěŻܮŻƢłþűŎǬĩƢƪܒȃĩƟĩƢƪŻűþŦƟþƢƷŎěŎƟþƷŎŻű ŻŁrþǢƿǬƿůŎŎűƷʼnĩěŻűŁĩƢĩűěĩþƷƟƢĩƪĩűƷěþűűŻƷĚĩěŻűȀƢůĩĢ܌þƪʼnĩǜþƪŻűþƪŎǡܮůŻűƷʼnƪƷþǢ ŎűƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪþƢŻƿűĢƷʼnþƷƷŎůĩ܌þŦƷʼnŻƿłʼn܌þƪůĩűƷŎŻűĩĢþĚŻǛĩ܌þƟŎĩěĩĚǢʼnŎůǜþƪƟĩƢܮ formed during the festival. Far beyond the conference, the “entanglement” of all three com- ƟŻƪĩƢƪǜŎƷʼn ŻŦĢܮàþƢܮƢĩŦþƷĩĢŎűƪƷŎƷƿƷŎŻűƪǜþƪƪŎłűŎȀěþűƷŁŻƢƷʼnĩŎƢěþƢĩĩƢƪþűĢþƢƷŎƪƷŎěĢĩǛĩŦŻƟ-ůĩűƷ܌ĢĩƪƟŎƷĩƷʼnĩŎƢĢŎDzŁĩƢĩűƷþłĩƪ܌ƪŻěŎþŦƪƷþƷƿƪ܌þűĢƢŻŦĩƪŎűƷʼnĩŎƢƢĩƪƟĩěƷŎǛĩěŻƿűƷƢŎĩƪܼůƿƪŎěþŦ ƪěĩűĩƪܒȃƿƪ܌ƷʼnĩŎƢƿűŦŎţĩŦǢܹĩűěŻƿűƷĩƢܺþƷƷʼnĩ¼ŻţǢŻڐژڕڐěŻűŁĩƢĩűěĩþűĢŁĩƪƷŎǛþŦƟƢŻǛŎĢĩƪþű apt example of the “non-simultaneous” impact of simultaneous events in postwar music history.

Im Dokument Music and Sound Culture (Seite 115-123)