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Making New Music in Cold War PolandThe Warsaw Autumn Festival, 1956-1968$
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Lisa Jakelski

Print publication date: 2016

Print ISBN-13: 9780520292543

Published to California Scholarship Online: May 2017

DOI: 10.1525/california/9780520292543.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 05 July 2022

A Raucous Education

A Raucous Education

Chapter:
(p.63) 3 A Raucous Education
Source:
Making New Music in Cold War Poland
Author(s):

Lisa Jakelski

Publisher:
University of California Press
DOI:10.1525/california/9780520292543.003.0004

Chapter 3 considers the effects that festival performances had on Warsaw Autumn audiences, as well the work these audiences performed through their listening practices. Public response was what demonstrated the Warsaw Autumn’s legitimacy as a socialist education project. Concertgoers’ uninhibited behaviors had additional meaning as forms of political action and strategies to accrue social and cultural prestige. Drawing on political scientist Michael Chwe’s theory of common knowledge formation, the chapter further argues that scandals were an important aspect of public education and taste formation at the Warsaw Autumn. The public contributed to the genre-making that took place via festival events, for their concert-hall behavior suggested that, in addition to various compositional styles and techniques, “contemporary music” entailed certain modes of audience response.

Keywords:   listening, scandals, audiences, common knowledge, public education, taste, audience response, socialist education, genre

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