Jari Parkkinen – författare

This book offers an illuminating account of the development of Soviet music and music political discussions in the 1920s and the 1930s. With its innovative conceptual historical approach, the work examines the discussions on Soviet music in close relation both to pre-revolutionary cultural ideas of Russia and political demands of the newly established Soviet state. By analyzing the use and transformations of such political concepts as democracy, people, Russia, and Europe in the context of Soviet music, the book sheds light on the complex negotiations on the role of music and culture in a revolutionary society. Consequently, the idea and the concept of the ‘revolution’ itself comes to be seen in a new light. Furthermore, as the key political concepts in the Soviet Union were the same as in other modern societies of the early 20th century, the book proposes that Soviet cultural ideas should not be viewed in isolation but rather in a close dialogical connection with the cultural ideas in other parts of Europe. The book is beneficial to scholars and students on Russian and Soviet music, music history, Soviet political and cultural history, and Russian area studies.

This book offers an illuminating account of the development of Soviet music and music political discussions in the 1920s and the 1930s. With its innovative conceptual historical approach, the work examines the discussions on Soviet music in close relation both to pre-revolutionary cultural ideas of Russia and political demands of the newly established Soviet state. By analyzing the use and transformations of such political concepts as democracy, people, Russia, and Europe in the context of Soviet music, the book sheds light on the complex negotiations on the role of music and culture in a revolutionary society. Consequently, the idea and the concept of the 'revolution' itself comes to be seen in a new light. Furthermore, as the key political concepts in the Soviet Union were the same as in other modern societies of the early 20th century, the book proposes that Soviet cultural ideas should not be viewed in isolation but rather in a close dialogical connection with the cultural ideas in other parts of Europe. The book is beneficial to scholars and students on Russian and Soviet music, music history, Soviet political and cultural history, and Russian area studies.

This book offers an illuminating account of the development of Soviet music and music political discussions in the 1920s and the 1930s. With its innovative conceptual historical approach, the work examines the discussions on Soviet music in close relation both to pre-revolutionary cultural ideas of Russia and political demands of the newly established Soviet state. By analyzing the use and transformations of such political concepts as democracy, people, Russia, and Europe in the context of Soviet music, the book sheds light on the complex negotiations on the role of music and culture in a revolutionary society. Consequently, the idea and the concept of the 'revolution' itself comes to be seen in a new light. Furthermore, as the key political concepts in the Soviet Union were the same as in other modern societies of the early 20th century, the book proposes that Soviet cultural ideas should not be viewed in isolation but rather in a close dialogical connection with the cultural ideas in other parts of Europe. The book is beneficial to scholars and students on Russian and Soviet music, music history, Soviet political and cultural history, and Russian area studies.

Despite increasing scholarship on the cultural Cold War, focus has been persistently been fixed on superpowers and their actions, missing the important role played by individuals and organizations all over Europe during the Cold War years.This volume focuses on cultural diplomacy and artistic interaction between Eastern and Western Europe after 1945. It aims at providing an essentially European point of view on the cultural Cold War, providing fresh insight into little known connections and cooperation in different artistic fields. Chapters of the volume address photography and architecture, popular as well as classical music, theatre and film, and fine arts. By examining different actors ranging from individuals to organizations such as universities, the volume brings new perspective on the mechanisms and workings of the cultural Cold War. Finally, the volume estimates the pertinence of the Cold War and its influence in post-1991 world.The volume offers an overview on the role culture played in international politics, as well as its role in the Cold War more generally, through interesting examples and case studies.

Despite increasing scholarship on the cultural Cold War, focus has been persistently been fixed on superpowers and their actions, missing the important role played by individuals and organizations all over Europe during the Cold War years.This volume focuses on cultural diplomacy and artistic interaction between Eastern and Western Europe after 1945. It aims at providing an essentially European point of view on the cultural Cold War, providing fresh insight into little known connections and cooperation in different artistic fields. Chapters of the volume address photography and architecture, popular as well as classical music, theatre and film, and fine arts. By examining different actors ranging from individuals to organizations such as universities, the volume brings new perspective on the mechanisms and workings of the cultural Cold War. Finally, the volume estimates the pertinence of the Cold War and its influence in post-1991 world.The volume offers an overview on the role culture played in international politics, as well as its role in the Cold War more generally, through interesting examples and case studies.