International Mainstream or Vernacular Dialect? Rethinking Lithuanian (Post)Minimal Music in the Time of Post-national Condition

Catholics and Communists in Twentieth-Century Italy: Between Conflict and Dialogue

The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

The subject of this research is the period of the Russian symphonic music of the early 1960s. The scene saw the emergence of a new generation of composers – the so-called “Sixtiers”, making themselves known with remarkable artistic achievements, novel and modern musical language. Emphasis is place on such aspects of the topic, as the system of music education that established in the Soviet Union by the mid XX century, sustained material affluence of the Soviet composers, and ideological pressure of the government in return for such care. Special attention. Special attention is given to the new artistic opportunities for the young Russian composers that emerged as a result of the political “thaw”. The scientific consists in introduction into the scientific discourse of a wide range of memoir literature and critical articles of the representatives of the “new wave” movement, as therefore, a more comprehensive understanding of the complex processes that unfolded in the Soviet academic music. A detailed analysis is conducted on the role and place in the struggle for “new music” of the youngest musician out of the “Sixtiers” – a prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939 – 2010). The main conclusion is reflected in the thought on a certain triumph of the School of Soviet Composers and the system of music education, which is most clearly described by the last three decades of the existence of the Soviet Union.

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

Before Boas: The Genesis of Ethnography and Ethnology in the German Enlightenment

87 Journal of South Asian and Middle Eastern Studies Vol. XXXIII, No.4, Summer 2010 Book Reviews Edited by Nadia Barsoum CHINA, NORTH AFRICA AND INDIA MAO’S CHINA & THE COLD WAR. By Chen Jian. University of North Carolina Press, Chapel Hill, NC 27515, 2001, 400 pp., $49.95 cloth, $19.95 paper US. Mr. Juan contributes excellent new material to support his comprehensive story of China’s Cold War. The role of Beijing, and the confrontation between the United States and the Soviet Union are excellently explained from recently declassified Chinese documents. FAMILIAR STRANGERS: A HISTORY OF MUSLIMS IN NORTHWEST CHINA. By Jonathan N. Lipman. University of Washington Press, 1997, 318 pp., 24 photos, maps, $22.50 paper only. Jonothan Lipman examines the nature of ethnicity and periphery; and the role of religion and collective decisions in violent times. This book is of special interest as are the complexities of belonging to two cultures at once. An academic must for all degree levels. PROTRACTED CONTEST: SINO-INDIAN RIVALRY IN THE TWENTIETH CENTURY. By John W. Garver. University of Washington Press, 2001, 447 pp. $50. US. John Garver meticulously explains the actions and policy decisions of India and China since the midtwentieth century. CHINA’S LEADERS: THE NEW GENERATION. By Cheng Li. Rowman & Littlefield Publishrs, Inc. MD 2001, 285 pp. Cheng Li gives an impressive insight into the quantitative and qualitative date regarding the so-called fourth generation leaders. A fascinating and informative work. SOCIAL AND POLITICAL CHANGE IN REVOLUNTIONARY CHINA: THE TAIHANG BASE AREA IN THE WAR OF RESISTANCE TO JAPAN, 1937-1945. By David S.G. Goodman. Rowman & Littlefield Publishers, Inc., MD, 2000, 345 pp. David Goodman is outstanding in his exploration of the social and political change in the Taihang Base Area during the War of Resistance to Japan. The text is meticulously documented and presented in an informative and interesting style. 88 U.S. POLICY TOWARD CHINA: AN INTRODUCTION TO THE ROLE OF INTEREST GROUPS. By Robert G. Sutter. 1998. 170 pp. Robert Sutter examines the central role of the hotly debated issues of human rights, trade opportunities, relations with Taiwan. He contends that, “ the U.S. foreign policy must strike a balance between satisfying domestic concerns while buttressing interests abroad.” CHOOSING REVOLUTION: CHINESE WOMEN SOLDIERS ON THE LONG MARCH. By Helen Praeger Young. Urbana, IL: University of Illinois Press, 2007, 282pp. Presents the oral histories of twenty-two veterans of the Red Army’s legendary six-thousand mile “retreat to victory” before the advancing Nationalist Army. MANAGING SINO-AMERICAN CRISES: CASE STUDIES AND ANALYSIS. Edited by Michael D. Swaine and Zhang Tuosheng. Washington, DC: Carnegie Endowment for International Peace, 2007, 536pp. Brings together Chinese and American officials and participants in past confrontations, as well as scholars from both countries, to explore the changing features of crisis behavior and their implications for defusing future encounters. THE HEADMAN WAS A WOMAN: THE GENDER EGALITARIAN BATEK OF MALAYSIA. By Kirk M. Endicott and Karen L. Endicott. Long Grove, IL: Waveland Press, 2008, 163pp. A comprehensive ethnography of one of the few remaining hunting and gathering peoples of Southeast Asia, this book presents the gender concepts, roles and relations of the highly egalitarian Batek of Peninsular Malaysia. ASIAN ISLAM IN THE 21ST CENTURY. Edited by John L. Esposito, John O. Voll and Osman Bakar. New York, NY: Oxford University Press, 2008, 306pp. Terrorism and its awful effects are highlighted in this explanation of Muslim politics as well as how Islamic extremist and movements have created Asian Muslim societies. THE CHANGIN FACE OF CHINA: FROM MAO TP MARKET. By John Gittings. New York, NY: Oxford University Press, 2006, 372pp. This book traces modern China from Communist revolution to economic superpower. BERNARD SHAW AND CHINA: CROSS-CULTURAL ENCOUNTERS . By Kay Li. Gainesville, FL: University Press of Florida, 2007, 285pp. HUMAN DEVELOPMENT IN SOUTH ASIA 2006: POVERTY IN SOUTH ASIA: CHALLENGES AND RESPONSES. New York, NY: Oxford University Press, 2007, 212pp. This report stresses lessening poverty in order to maintain economic growth in the South Asian region. 89 ASSESSING THE THREAT. Edited by Michael D. Swaine, Andrew N.D. Yang, and Evan S. Mederiros with Oriana Skylar Mastro. Washington, D.C.: Carnegie Endowment...

Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination

DOI 10.1515/cjpp-2013-0013 Calif. J. Politics Policy 2013; 5(4): 755–767 Sean M. Diament* The Pragmatic Idealist: An Exposition and Review of Alan Cranston – Senator from California: Making a “Dent in the World” by Judith Robinson, Telegraph Hill Press, 2012 Abstract: Alan Cranston, former Senator from California, achieved so much in his life that an equally prodigious biography is required to present his story to the world. In Alan Cranston – Senator from California, historian Judith Robinson seizes the opportunity to write an incredibly detailed, thoughtful memoir about a person who lived through, and participated in, some of the most important events of the twentieth century. The purpose of this book review is to highlight the key components of Robinson’s exhaustive biography, which in doing so, will expli- cate the themes, characters, and key events that compose the story of Cranston’s life. This takes shape by engaging the book as it chronicles Cranston’s life from his creative adolescence, to his early adulthood exploring much of the world as a foreign correspondent, and finally, his over half-century as a key figure in Cali- fornia politics. By utilizing Cranston’s personal papers, letters to friends and col- leagues, interviews with key figures in his life, and media coverage of important historical and political events, the review will demonstrate Robinson’s dedication to telling the story of Alan Cranston in rich detail, with many revelatory anecdotes to pique the reader’s interest. Taken as a whole, the biography is an essential read in explaining the significance of Cranston’s life in the larger context of political and social change in California, national legislative and electoral politics during the Cold War, and the work to build closer bonds between the political entities that represent the people of the world. Keywords: Alan Cranston; US Senate; California politics; California Democratic Council; Democratic party. *Corresponding author: Sean M. Diament, University of California, Berkeley, Political Science Department, e-mail: sean.m.diament@gmail.com Over the course of the twentieth century, California embarked on a transitional journey from a demographically homogenous, Republican stronghold, to a multi- ethnic liberal beacon. Few political figures in California history embody the state’s

Editor's Note

This comparative study combines historical and ethnographic evidence to describe the uses of music and the shifting meanings of musical traditions across almost seven centuries of Mexican history (especially in Mexico City). Despite this colossal scope, Pedelty does not attempt to write a comprehensive history of Mexico through musical practices; in fact, his study is even more ambitious. Rather than providing a plain historical narrative, Pedelty seeks to explain the role of musical rituals as performances that emerge from specific historical, cultural, and political circumstances but are also agents of social change, cultural identification, and political resistance. His comparative approach emphasizes the contemporary coexistence of many of these musical traditions and the ways in which Mexicans have resignifed them according to their current political and social circumstances.Pedelty divides Mexican history into six large periods: the Aztec Empire, New Spain, the nineteenth century, the 1910 revolution, the modern period (1921 – 68), and the contemporary period (1968 – 2002). The book’s structure, alternating chapters of history and comparative ethnography, is conducive to Pedelty’s interdisciplinary goals. His intent is to first describe a particular music tradition historically and then explore its contemporary resonances ethnographically. He explains his theoretical apparatus in a separate appendix, allowing him to maintain a clear and concise prose throughout the main body of his text and scrupulously avoid jargon.Pedelty presents his argument most effectively in the sections devoted to the Aztec period and modern Mexico. The first interprets contemporary Conchero and Mexica dancers as metaphors of indigenous people’s needs to produce a sense of inclusion or autonomy, respectively, in a racially discriminatory society. The section on modern Mexico focuses on the urban success of bolero and danzón and their role in “gaining cultural citizenship in modernizing Mexico” (p. 149). His interesting discussion of bolero is momentarily disturbed by the sloppy selection of some of his musical examples (Agustín Lara’s “Noche de ronda” and “Farolito” are not boleros but stylized triple-meter waltzes and therefore articulate a different history than boleros). But Pedelty’s argument about cabaretera movies in relation to bolero, gender construction, and legendary feminine icons in Mexican popular culture (Coyolxauhqui, La Malinche, La Vírgen de Guadalupe, La Llorona, and La Adelita) is particularly appealing and informative.Most problematic is Pedelty’s treatment of colonial musical practices, nineteenth-century musics, and twentieth-century art music. Although he constructs a complex mosaic of colonial Mexican music by addressing a large variety of secondary sources, he fails to acknowledge some of the most attractive current work on the relationship between contemporary Mexican folk music and European baroque musical practices. His reliance on classic music scholarship to the expense of more recent work prevents him from articulating some of the scholarly discussions that might have better supported his goals. If he had engaged this scholarship (Antonio Corona, Eloy Cruz), he might have been able to illustrate the current life of colonial secular music in the instrumental and vocal techniques of the huapango or son jarocho traditions instead of relying on a single government-supported concert by the Hinojosa-Villey Duo. The survey of nineteenth-century Mexican music in part 3 lacks substance and is marred by a few factual errors. Antonio Gomezanda was not “a precursor of 20th-century nationalist composers” (p. 105), as Pedelty argues, but rather a nationalist composer (only a conservative, less modernistic one) active during the first part of the twentieth century. Nor was Cenobio Paniagua’s Catalina de Guisa (1859) the first Mexican opera (p. 105): Manuel Covarrubias composed Reinaldo y Elina o La sacerdotisa peruana more than ten years earlier, and Manuel de Sumaya’s La Parténope premiered in 1711, more than two centuries before Paniagua’s first opera. The discussion of Carlos Chávez and Silvestre Revueltas in chapter 12 is also problematic, as it reproduces a series of myths (Chávez as a nationalist/indigenista composer or the dichotomy of “sophisticated urban Chávez” versus “straightforward rural Revueltas”) that have been challenged by recent scholarship (Eduardo Contreras Soto, Alejandro L. Madrid, and Leonora Saavedra). Some of these weaknesses might be attributed to the lack of engagement with more up-to-date scholarship, but others are clearly the result of a careless reading of sources.Regardless of its shortcomings, Pedelty’s interdisciplinary effort should be noted. It would be interesting to read more texts combining ethnography and history as part of larger interpretative projects. This out-of-the-ordinary contribution to the study of musical cultures in Mexico would make an interesting reading for those concerned with Mexican music, culture, and history.

Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.

Diplomats in Science Diplomacy: Promoting Scientific and Technological Collaboration in International Relations**

This article provides an overview and critical assessment of the development and current state of university Russian language teaching in Australia and New Zealand and examines the main directions of research in Russian Studies in these countries in the twentieth and twenty-first centuries. It also highlights various factors that influenced teaching and research in the field of the Russian language and literature. The relevance of the topic is due, on the one hand, to the urgency of examining the state of Russian studies in Australia and New Zealand in the light of ongoing political and socio-cultural changes, and, on the other hand, to the lack of research in this area. Both periods were chosen because it is impossible to explain the position of Russian studies in Australia and New Zealand in the twenty-first century without considering the trends in the development of the discipline in the previous century. The study is based on the analysis of press materials, official websites of Australian and New Zealand universities, statistical materials of higher education, and research publications. The article demonstrates that the dynamics of demand for teaching Russian at tertiary level in Australia and New Zealand, as well as the emergence or closure of Russian programs, certainly reflect changes in interest in the Russian language. However, university Russian language teaching in the two countries was also found to be strongly influenced by historical, economic, and political factors, as well as by government reforms in education and, in particular, language teaching. The article also demonstrates changes in the directions of research in the field of the Russian language and literature. It was observed that while in the twentieth century (especially in the 1950s, 1960s, and 1970s), more studies were published on the description of the grammatical and phonetic structure of the modern Russian literary language, as well as on comparative analyses of Slavonic languages, in the twenty-first century, a large number of works of an applied nature appeared, including publications on the methodology of teaching Russian and on applying the achievements of linguistics to teaching. In addition, while in the twentieth century literary studies dealt to a greater extent with the classics of the nineteenth and early twentieth centuries, in the twenty-first century, more research has been devoted to the analysis of the works of contemporary poets and writers.

The Study of Australian Jazz and the Issue of Methodological Nationalism

Cold Wars: Asia, the Middle East, Europe