Chapter Introduction
From the mid-1950s to the late 1970s, jazz was harnessed as America's "sonic weapon" to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world - including to an array...
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Hōputu: | Tāhiko Wāhanga pukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
Taylor & Francis
2020
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| Ngā marau: | |
| Urunga tuihono: | DOAB: download the publication DOAB: description of the publication |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
| Whakarāpopototanga: | From the mid-1950s to the late 1970s, jazz was harnessed as America's "sonic weapon" to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world - including to an array of Communist countries - as "jazz ambassadors" in order to mitigate the negative image associated with domestic racial problems. While many non-Americans embraced the Americanism behind this jazz diplomacy without question, others criticized American domestic and foreign policies while still appreciating jazz - thus jazz, despite its popularity, also became a medium for expressing anti-Americanism. This book examines the development of jazz outside America, including across diverse historical periods and geographies - shedding light on the effectiveness of jazz as an instrument of state power within a global political context. |
|---|---|
| Whakaahuatanga ōkiko: | 1 electronic resource (10 p.) |
| ISBN: | 9780429060595 |
| Urunga: | Open Access |