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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

The Limits of Exchange

The Limits of Exchange

(p.139) 6 The Limits of Exchange
Making New Music in Cold War Poland

Lisa Jakelski

University of California Press

By way of a case study of the 1968 Warsaw Autumn/ISCM Festival, chapter 6 revisits the question of what it meant for a music institution in socialist Poland to be international as well as contemporary. The chapter shows that transnational bonds were put to the test in 1968, when the Warsaw Autumn co-hosted the ISCM Festival in the wake of the Warsaw Pact invasion of Czechoslovakia. On the one hand, the co-hosting arrangement was a sign of the Warsaw Autumn’s successful integration into border-spanning new music networks. However, this integration only went so far: a significant number of the festival’s Western performers boycotted to protest Poland’s military involvement in the Prague Spring’s suppression. Through an investigation of these problems, the chapter argues that the joint Warsaw Autumn/ISCM festival demonstrated both the limits and the potential of 1960s transnationalism.

Keywords:   1968, Prague Spring, ISCM, transnationalism, new music, networks

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