Music and Change in the Eastern Baltics Before and After 1989

• Utgivningsdatum: 2022-12-01
• Mått: 155 x 234 x 29 mm
• Vikt: 680 g
• Format: Inbunden
• Språk: Engelska
• Serie: Musicology
• Antal sidor: 362
• Förlag: Academic Studies Press
• ISBN: 9781644698945

• Världsmusik
• Musikhistoria
• Etnicitet

Małgorzata Janicka-Słysz is a music theorist, head of theDepartment of Theory and Interpretation of Musical Work at Krzysztof Penderecki Academy of Music,Krakow, a member of the editorial board of the journal Theory of Music,and professor at the Academy of Music, Krakow. She is the author of VytautasBacevićius i jego idee muzyki kosmicznej (2001) and Poetyka muzycznaKarola Szymanowskiego. Studia i interpretacje (2013). Rūta Stanevičiūtė is a musicologist, director of theResearch Centre at the Lithuanian Academy of Music and Theatre, and achief-editor of the journal Lithuanian Musicology. She is the author of TheFigures of Modernity: The International Society for Contemporary Music andthe Spread of Musical Modernism in Lithuania (VDA, 2015), and the co-authorof Nylon Curtain: Cold War, International Exchange and Lithuanian Music(LMTA, 2018), and Sound Utopias: Lithuanian Music Modernization inContext (2021).

“ The reports included in Music and Change are well documented by the authors. [T]he overriding thesis of the twelve articles in this book is confirmation of the relationship between music and change in the form of liberation and political transformation. With its distinguished international editorial board, we should look forward to the publishers releasing other stimulating studies of music in Eastern Europe”.—William Smialek, The Polish Review“Music and Change is a good example of discoursive value production and could be an interesting case by itself as a subject of research for a more reflexive sociological study of music.”—Liutauras Kraniauskas, Zeitschrift für Ostmitteleuropa-Forschung“This collection evokes a rich music historiography, underscoring the value of focusing on scenes and local events, notably highlighted by Karnes. It features a methodological emphasis on network-driven analysis, facilitating a comparative exploration of intricate musical interconnections. Furthermore, several discussions, especially by Schmelz, accentuate the perpetual flux in interpretive meanings, particularly regarding concepts such as ‘freedom’. They elucidate the continuous reinvention and dynamic nature of these ideas for both scholars and the musicians they study. Collectively, these significant perspectives intertwine, offering a multifaceted lens to comprehend the complex musical narratives within the Eastern Baltics.”—Živilė Arnašiūtė, SEER

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