This week the 2017 American Musicological Society’s annual meeting convenes in Rochester, New York and AMS members can save 40% on new and forthcoming titles when they visit our booth in the exhibit hall.
If you cannot attend the meeting, the discount is available online for 15 days after the show—use source code 17E9198 online (enter code at checkout).
Meanwhile get an early look at some of the titles we’ll have on view:
We are also offering a chance to win a free paperback copy of one of our Luminos Open Access music titles. The digital editions are always free (visit luminosoa.org to download), but please visit our booth at AMS to enter to win a print copy of your choice of either Keys to Play by Roger Moseley or Instruments for New Music by Thomas Patteson.
Watch this space through the weekend for more #amsroc17 posts, with free content from UC Press journals and more.
This post is part of a blog series leading up to the American Musicological Society annual conference taking place in Vancouver, Canada from November 3–6. Please visit our booth if you are attending, and otherwise stay tuned for more content related to our Music books and journals programs.
by Lisa Jakelski, author of Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956-1968
What can institutions tell us about contemporary art music? The Warsaw Autumn festival provides some intriguing answers to this question. Launched in 1956 (and still running today), the Warsaw Autumn was at the heart of a vibrant musical culture in Poland whose diversity and modernity were unique in Cold War Eastern Europe. Electronic music from West Germany, symphonies from the Soviet Union, sonic experiments from Poland, and avant-garde dance from the United States—these were just some of the things a festivalgoer could see and hear in the 1950s and ‘60s.
The Warsaw Autumn fascinates me because of its unique location during the Cold War. At the time, the festival was on the cultural fault line between East and West, and, as a result, it was a place where there were heated debates about what new music could (and should) be. I’ve been just as intrigued by the stories of the people who’ve been involved with the festival. In writing this book I’ve encountered savvy composers, traveling performers, wheeling-and-dealing cultural officials, partisan critics, curious tourists, and rioting audiences. Telling their stories has allowed me to present new music as a social phenomenon—the creation of many different actors working through institutions. Following the journeys of people, objects, and ideas has also led me to a more nuanced understanding of Eastern Europe during the Cold War. Instead of being muffled by an Iron Curtain, musicians in Poland, through the Warsaw Autumn festival, were able to participate meaningfully in networks that stretched across the world.
Lisa Jakelski is Associate Professor of Musicology at the Eastman School of Music, University of Rochester.