“Ideologically Progressive Art” Meets Western Avant-Garde

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F20%3A73606211" target="_blank" >RIV/61989592:15210/20:73606211 - isvavai.cz</a>

Výsledek na webu

<a href="http://doi.fil.bg.ac.rs/pdf/eb_book/2020/music_diplomacy/music_diplomacy-2020-ch10.pdf" target="_blank" >http://doi.fil.bg.ac.rs/pdf/eb_book/2020/music_diplomacy/music_diplomacy-2020-ch10.pdf</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.18485/music_diplomacy.2020.ch10" target="_blank" >10.18485/music_diplomacy.2020.ch10</a>

Jazyk výsledku

angličtina

Název v původním jazyce

“Ideologically Progressive Art” Meets Western Avant-Garde

Popis výsledku v původním jazyce

Immediately after the Czechoslovak coup d&apos;état in February 1948, which meant the ultimate end of the democratic “Czechoslovak state of Masaryk”, the Second International Congress of Composers and Music Critics took place in Prague. Its final proclamation, the so-called Prague Manifesto, became a starting point for the next course in music culture in Communist countries. The Manifesto aimed at finding a way out of a deep crisis of music and musical life at the time. Classical Music was blamed for being too individual, subjective, complex and prefabricated form. Both classical and popular music represented ‘two sides of the same inauspicious state of culture […]’, the state of levelling cosmopolitanism. The congress participants officially joined fight against ‘formalism’ in music, proclaimed by Andrei Alexandrovich Zhdanov in his appearance at the All-Union Communist Party meeting in February 1948. The first legitimate congress of composers and music theoreticians took place in September the same year and expanded the conclusions of the International Congress, declaring the political duty of music to continue seeking creative support in the principles of Socialist Realism. The newly established Union of Czechoslovak Composers became the main authority for implementation of the Zhdanov doctrine. It was well-connected to the ruling Communist party, disposing of financial means as well as significant power. Its official regulations stated that the ‘value of an art piece’ was tied to adherence to state ideology, progressiveness, a folk character and comprehensibility. The only music periodical in the country at the time, ‘Hudební rozhledy’ (Musical Perspectives), became a communicator of the Union’s views. It was supposed to shape ideology and public taste. Another aim of the Union, as a political body of the Communist party, was the outward presentation of ideologically tested and approved music culture of the young people’s democratic state. The Union sent expeditions of artists abroad, first to ‘fraternal’ socialist countries and from 1956 on even to the Warsaw Autumn festival. Here, ‘ideologically progressive’ art was directly confronted with the avant-garde music of the West. Relying upon my studies of sources of the time (mainly written records of the Union’s meetings and periodicals), I will attempt to outline how official representatives of Czechoslovak music culture came to terms with this clash with foreign post-war avant-garde music.

Název v anglickém jazyce

“Ideologically Progressive Art” Meets Western Avant-Garde

Popis výsledku anglicky

Immediately after the Czechoslovak coup d&apos;état in February 1948, which meant the ultimate end of the democratic “Czechoslovak state of Masaryk”, the Second International Congress of Composers and Music Critics took place in Prague. Its final proclamation, the so-called Prague Manifesto, became a starting point for the next course in music culture in Communist countries. The Manifesto aimed at finding a way out of a deep crisis of music and musical life at the time. Classical Music was blamed for being too individual, subjective, complex and prefabricated form. Both classical and popular music represented ‘two sides of the same inauspicious state of culture […]’, the state of levelling cosmopolitanism. The congress participants officially joined fight against ‘formalism’ in music, proclaimed by Andrei Alexandrovich Zhdanov in his appearance at the All-Union Communist Party meeting in February 1948. The first legitimate congress of composers and music theoreticians took place in September the same year and expanded the conclusions of the International Congress, declaring the political duty of music to continue seeking creative support in the principles of Socialist Realism. The newly established Union of Czechoslovak Composers became the main authority for implementation of the Zhdanov doctrine. It was well-connected to the ruling Communist party, disposing of financial means as well as significant power. Its official regulations stated that the ‘value of an art piece’ was tied to adherence to state ideology, progressiveness, a folk character and comprehensibility. The only music periodical in the country at the time, ‘Hudební rozhledy’ (Musical Perspectives), became a communicator of the Union’s views. It was supposed to shape ideology and public taste. Another aim of the Union, as a political body of the Communist party, was the outward presentation of ideologically tested and approved music culture of the young people’s democratic state. The Union sent expeditions of artists abroad, first to ‘fraternal’ socialist countries and from 1956 on even to the Warsaw Autumn festival. Here, ‘ideologically progressive’ art was directly confronted with the avant-garde music of the West. Relying upon my studies of sources of the time (mainly written records of the Union’s meetings and periodicals), I will attempt to outline how official representatives of Czechoslovak music culture came to terms with this clash with foreign post-war avant-garde music.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

The Tunes of Diplomatic Notes : Music and Diplomacy in Southeast Europe (18th–20th century)

ISBN

978-86-80639-54-3

Počet stran výsledku

10

Strana od-do

155-164

Počet stran knihy

261

Název nakladatele

Institute of Musicology SASA/Faculty of Social Sciences, University of Ljubljana

Místo vydání

Belgrade and Ljubljana

Kód UT WoS kapitoly

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