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Journal articles on the topic 'Music and diplomacy – History'

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Published: 10 March 2023

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1

Mahiet, Damien. "The Musical Diplomacy of Metternich." Diplomatica 3, no. 2 (December 28, 2021): 244–77. http://dx.doi.org/10.1163/25891774-03020003.

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Abstract That festivities are woven into the historical image of the Austrian diplomat, foreign minister, and state chancellor Clemens von Metternich (1773–1859) is in part the byproduct of his investment in music. As an amateur performer, passionate connoisseur, attentive patron, and frequent host, Metternich cultivated an international soundworld that presented opportunities for cooperative performances. Ensemble music and collective listening provided experiences of international concert that gained significance in the context of multilateral congresses and meetings. Musical exchanges, sustained through the activity of women and professional musicians, contributed to fostering diplomatic relations and international presence. In the context of the Restoration’s competing soundworlds, Metternich deployed a patronage of Rossini’s work and Italian opera music, with increasing intensity but mixed effect. This history speaks to the function of music in the presentation of self in international encounters and the resources to be found in the plurality of roles diplomats perform.

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2

Jamnongsarn, Surasak. "Interaction of Music as a Soft Power in the Dimension of Cultural Diplomacy between Indonesia and Thailand." International Journal of Creative and Arts Studies 1, no. 1 (April 17, 2017): 58. http://dx.doi.org/10.24821/ijcas.v1i1.1572.

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The phenomenon of cultural diplomacy between Indonesia and Thailand had appeared since the visit of the Kings of Thailand to Java more than a hundred years ago. In addition, the Indonesian immigrants who has come to Thailand are also an important factor of musical history of both countries. As a result of these interactions, the exchange of ideas, information, value, system, tradition, belief, and other aspects of culture are in the interest of foster mutual understanding through musical dimension. More precisely, the interaction contributes to the exchange of musical ideas. In the Thai music history, angklung and gamelan is an essential tool for building international relations between the two countries at the community level. The relation between the two countries is similar to the relationship between two people so that emotion is the key methodologies in cultural diplomacy. The purpose of diplomacy is to give those people around you to know you better. There used to be a lot of cultural imperialism in cultural diplomacy, but this should be avoided. Currently, cultural diplomacy can give an idea on how a country engaging with others, a capacity to share and accept other viewpoints. The music has a very positive impact for the development of musical culture in Thailand today.Angklung has been taught in every elementary school in the whole of Thailand, even at the level of junior high school and high school. The ideas of new works by Thailand composers today inspired many of the gamelan orchestra. Despite the fact may be felt by the people of Thailand that the influence of Indonesian music is so powerful, so far no Thai person who writes about the history of this music as cultural diplomacy. Cultural diplomacy conceived and built in three models of representation: soft power, nation branding, and cosmopolitan constructivism.

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3

LIU, BESS XINTONG. "‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour." Twentieth-Century Music 18, no. 3 (October 2021): 395–418. http://dx.doi.org/10.1017/s1478572221000189.

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AbstractThis article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).

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4

Marc, Isabelle. "Around the world: France’s new popular music diplomacy." Modern & Contemporary France 28, no. 3 (October 27, 2019): 253–70. http://dx.doi.org/10.1080/09639489.2019.1682533.

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5

McGAVIN, JOHN J. "Robert III's 'Rough Music': Charivari and Diplomacy in a Medieval Scottish Court." Scottish Historical Review 74, no. 2 (October 1995): 144–58. http://dx.doi.org/10.3366/shr.1995.74.2.144.

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6

Moore, Michaela Hoenicke. "Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850–1920." Journal of Transatlantic Studies 8, no. 4 (December 2010): 413–14. http://dx.doi.org/10.1080/14794012.2010.522364.

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7

Woodfield, Ian. "The Keyboard Recital in Oriental Diplomacy, 1520–1620." Journal of the Royal Musical Association 115, no. 1 (1990): 33–62. http://dx.doi.org/10.1093/jrma/115.1.33.

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The giving of gifts or ‘bribes’ in return for official favours was an immutable fact of life in oriental society that Europeans who travelled to the East in the service of religious or commercial interests had no choice but to accept. Permission to open a trading station or a mission would rarely be granted unless the request were accompanied by a present of some substance. The initial gift, moreover, would inevitably inspire many demands for similar treatment by subordinate officials in whose hands lay considerable power to disrupt the ordered patterns of daily life. The choice of suitable objects for presentation was thus an abiding concern of every European organization with interests in the East. There was general agreement that cheap trinkets which might be used to good effect to buy off an African chief would be regarded as an insult in any of the great oriental courts. To appear before the Sultan or the Great Mughal with a feeble or even a mildly inadequate offering was to put at risk the very interests in which the gifts were given. Failure to please could be doubly damaging if a rival European organization were able to make good the disappointment. A balance had therefore to be struck between the need for goods that displayed the best aspects of European artistry, craftsmanship and mechanical ingenuity and the need to keep costs to a reasonable level. The musical gift which most closely matched these requirements was a keyboard instrument of some kind: a harpsichord, for instance, could be painted attractively and displayed as an objet d'art; with its method of sound reproduction, it could also be presented as a mechanical device; it was certain to be regarded as a novelty; and, most important of all, the costs of its manufacture and transportation and the wages of the single musician hired to accompany it would not be prohibitive. For all these reasons, organs, harpsichords and virginals occupy a very significant place in the history of Renaissance oriental diplomacy, especially during the period from c. 1575 to c. 1625 when the old Portuguese empire began its decline in the face of fierce competition from the commercial interests of the Dutch and English nations.

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8

Raković, Aleksandar. "Yugoslav Rock Opera Gubec-beg (1973–1984) – Theatrical Spectacle and Cultural Diplomacy." Tokovi istorije 29, no. 3 (December 31, 2021): 253–74. http://dx.doi.org/10.31212/tokovi.2021.3.rak.253-274.

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The paper shows how the first Yugoslav rock opera Gubec-beg was created, how its spectacular stage production made its way into the repertoire of Zagrebʼs Komedija Theatre and the Vatroslav Lisinski Concert Hall in Zagreb, how important it was for Yugoslav culture at home and cultural diplomacy abroad and for public opinion regarding this performance. The paper is written on the basis of documents from the Archives of Yugoslavia, the Diplomatic Archive of the Ministry of Foreign Affairs of the Republic of Serbia, the domestic press and periodicals (entertainment, music, daily, youth, political, musicological, theatre), and academic and scholarly literature.

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9

LESON, LENA. "“I'm on My Way to a Heav'nly Lan’”: Porgy and Bess as American Religious Export to the USSR." Journal of the Society for American Music 15, no. 2 (May 2021): 143–70. http://dx.doi.org/10.1017/s1752196321000018.

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AbstractScholars have explored the use of Breen-Davis's Porgy and Bess and its stellar ensemble cast to counter Soviet criticism of US race relations during the Cold War—but an equally prominent theme in contemporary coverage of the production is spirituality. Onstage as well as off, the Soviet tour of Porgy and Bess reflected both American and Soviet ideas about religion's role in international diplomacy in the mid-1950s. This article explores religiosity in the Breen-Davis production as well as the reception of the 1955–56 Soviet tour both in the United States, where the production represented a hopeful vision of the nation's racial tolerance and religious pluralism, and in the USSR, where the tour's twin messages of American spiritual superiority and racial equality were challenged by Soviet authorities. Drawing on materials from the Robert Breen Archives housed in the Jerome Lawrence and Robert Lee Theatre Research Institute at Ohio State University, this article considers Breen-Davis's Porgy and Bess as a religious export to the USSR, enriching our understanding of US cultural diplomacy and Cold War–era musical exchange with broader implications for American–Soviet history, religious studies, and opera analysis.

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10

Han, Benjamin M. "Transpacific Talent." Pacific Historical Review 87, no. 3 (2018): 473–98. http://dx.doi.org/10.1525/phr.2018.87.3.473.

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This article examines the Kim Sisters, a trio of female performers from South Korea, as a case study to explore the transpacific exchange of ethnic talent between the United States and Korea during the Cold War. It illustrates how U.S. military occupation, popular music, and Cold War diplomacy were visibly intertwined in entertainment television programming. The performances of the Kim Sisters in variety shows as a display of ethnic spectacle under the mask of internationalism constructed a false projection of race relations while the United States sought to win the cultural Cold War. The Kim Sisters navigated the complex structures of American Orientalism that television ascribed to them.

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FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral history evidence indicate that the Michigan jazz band's tour succeeded in building vital imagined connections across international borders. The nature of these connections demonstrates that the cold war practice of pushing culture across borders for political purposes furthered cultural globalization—even though the latter process is often regarded by scholars as a phenomenon that began only after the end of the cold war. The jazz band's tour highlights the essential role of music and musicians in fostering new transnational sensibilities in the politicized context of the cold war.

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12

French, Richard F., and Israel J. Katz. "Libraries, History, Diplomacy, and the Performing Arts: Essays in Honor of Carleton Sprague Smith." Notes 49, no. 4 (June 1993): 1529. http://dx.doi.org/10.2307/899429.

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13

Sumanta Bhattacharya, Vinay Sahasrabuddhe, Arindam Mukherjee, and Bhavneet Kaur Sachdev. "An analytic interpretation on the importance of India's soft power in international cultural diplomacy over the centuries." World Journal of Advanced Research and Reviews 12, no. 3 (December 30, 2021): 131–36. http://dx.doi.org/10.30574/wjarr.2021.12.3.0995.

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India’s Soft Power which is part of Smart Diplomacy or cultural diplomacy in India. India’s soft power diplomacy can be traced back to the time when Swami Vivekananda visited Chicago Parliament of Religion and spoke about Hinduism and India, which attracted many Indians and Foreigners who visited India and learnt about the Indian culture and the Sanskrit, his book on Raja Yoga influenced Western countries to practice Yoga who came to India and visited asharams, India’s main soft powers include spiritualism, yoga, Ayurveda, the world is shifting towards organic method of treatment which has its trace in India. There is culture exchange of arts, music, dance. Indian Diaspora and Young youth are the weapons for the spread of Indian culture across the globe, People are interested in Indian culture and epics of Ramayana and Mahabharat and studying on Kautliya. India literature and craft have received international recognition, countries abroad have included Sanskrit as part of their educational curriculum. India has also emerged has an export of herbs medicine to many foreign countries like Middle East, Europe, Africa etc. and this soft power of India will help in creating a massive influence across the world but before that Indian should have ample knowledge about their own history and culture and languages.

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14

Azzolini (book editor), Monica, Isabella Lazzarini (book editor), and Arazoo Ferozan (review author). "Italian Renaissance Diplomacy: A Sourcebook." Renaissance and Reformation 41, no. 1 (April 19, 2018): 167–69. http://dx.doi.org/10.33137/rr.v41i1.29525.

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15

Sylvand, Thomas. "The Soldier, The Chapel, The Wedding and the Composer: Assessing the Works of Dufay and Saint Maurice of Savoy in the 15th Century." African Musicology Online 11, no. 1 (December 30, 2022): 51–68. http://dx.doi.org/10.58721/amo.v11i1.91.

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This article explores two often poorly connected fields in a quite touchy symbolic conception. On one side is the complex ramification of the County of Savoy and its family therein at a period when Savoy become a Duchy under the protection of the German Holy Empire with the patronage of Saint Maurice, while on the other side is the complex and prolific secular compositions of Guillaume Dufay and its subtle style of performance. In many cases, little is known by Historians about medieval music. Therefore, Musicologists interested in metrics and comparison between manuscripts could easily obliterate the subtle diplomacy of the patrons of this period. To complicate even more, Savoy historians are in France and Italy (with most documents in Latin and French), and Dufay specialists are mainly in England and the United States. This essay also evocates a medieval Black saint, Maurice, considered a positive symbol, an idea not so evident in Savoy nowadays but probably also shortly after in the Protestant Alps, a period when visual representation could be easily destroyed. Hence this study enquires into this controversial subject and finds interesting new materials connected with music. This could be anecdotal if these pieces were not already so well-known and influential in the History of music.

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16

Corn, Aaron. "Land, song, constitution: exploring expressions of ancestral agency, intercultural diplomacy and family legacy in the music of Yothu Yindi with Mandawuy Yunupiŋu." Popular Music 29, no. 1 (January 2010): 81–102. http://dx.doi.org/10.1017/s0261143009990390.

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AbstractYothu Yindi stands as one of Australia's most celebrated popular bands, and in the early 1990s became renowned worldwide for its innovative blend of rock and indigenous performance traditions. The band's lead singer and composer, Mandawuy Yunupiŋu, was one of the first university-trained Yolŋu educators from remote Arnhem Land, and an influential exponent of bicultural education within local indigenous schools. This article draws on my comprehensive interview with Yunupiŋu for an opening keynote address to the Music and Social Justice Conference in Sydney on 28 September 2005. It offers new insights into the traditional values and local history of intercultural relations on the Gove Peninsula that shaped his outlook as a Yolŋu educator, and simultaneously informed his work through Yothu Yindi as an ambassador for indigenous cultural survival in Australia. It also demonstrates how Mandawuy's personal history and his call for a constitutional treaty with indigenous Australians are further grounded in the inter-generational struggle for justice over the mining of their hereditary lands. The article's ultimate goal is to identify traditional Yolŋu meanings in Yothu Yindi's repertoire, and in doing so, generate new understanding of Yunupiŋu's agency as a prominent intermediary of contemporary Yolŋu culture and intercultural politics.

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17

Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.

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The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.

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18

Daub, Adrian. "Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850–1920. By Jessica C. E. Gienow‐Hecht. Chicago: University of Chicago Press, 2009. Pp. xvi+335. $49.00." Journal of Modern History 83, no. 1 (March 2011): 154–55. http://dx.doi.org/10.1086/658007.

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19

Fletcher (book author), Catherine, and Jennifer Mara DeSilva (review author). "Diplomacy in Renaissance Rome: The Rise of the Resident Ambassador." Renaissance and Reformation 39, no. 3 (January 14, 2017): 179–81. http://dx.doi.org/10.33137/rr.v39i3.27732.

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20

Vesić, Ivana, and Vesna Peno. "The structural transformation of the sphere of musical amateurism in socialist Yugoslavia: A case study of the Beogradski madrigalisti choir." New Sound, no. 51 (2018): 43–63. http://dx.doi.org/10.5937/newso1851043v.

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In this paper we focused on investigating how the sphere of musical amateurism functioned in Yugoslavia in the decades following the end of WWII. Observing through changes in the role and significance of amateur music ensembles, specifically choirs, in Yugoslav society from the late 1940s until the late 1960s/early 1970s that were manifest in their de-massification, gradual professionalisation and extensive use in cultural diplomacy, we sought to explain that this involved multiple factors - above all, the shifts in Yugoslav international policy after the confrontation with the Soviet Union in 1948, and, consequently, the revisions of its cultural policies. Their influence was observed through a detailed examination of the activities of the Beogradski madrigalisti choir, from its foundation in 1951 until the late 1960s/early 1970s. Although it was unique among Yugoslav choirs in many respects, the early history of this ensemble clearly reflected the demand for excellence in the sphere of amateur performance from the 1950s onwards, one of the most prominent indicators of its deep structural transformation.

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21

Monod, David. "Lisa E. Davenport . Jazz Diplomacy: Promoting America in the Cold War Era . (American Made Music Series.) Jackson: University Press of Mississippi. 2009. Pp. 219. $50.00." American Historical Review 116, no. 3 (June 2011): 832–33. http://dx.doi.org/10.1086/ahr.116.3.832.

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22

Rizzi, Andrea. "Interpreting in Early Modern Diplomacy: Occasional Mobility and the Liminal Spaces of Trust." Renaissance and Reformation 44, no. 1 (July 20, 2021): 9–28. http://dx.doi.org/10.33137/rr.v44i1.37040.

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In this article, I examine the relationship between mobility and trust in the work and life of a wide range of early modern diplomatic interpreters. I address this relationship by bringing together archival material unearthed by literary scholars and social historians: specifically, historians of diplomacy, translation, and interpreting. I seek to address these documents from the perspective of occasional dragomans who found themselves performing the often-dangerous role of intercultural mediation in exchange for money, an improved social status, or freedom.

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23

Tubau, Xavier. "Between Ecclesiology and Diplomacy: Francisco de Vargas and the Council of Trent." Renaissance and Reformation 42, no. 3 (December 11, 2019): 105–39. http://dx.doi.org/10.7202/1066361ar.

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This article examines the letters and reports of Francisco de Vargas (ca. 1500–66), a jurist who served in different positions under Charles V and Philip II during the three phases of the Council of Trent. Vargas defended the superiority of the council over the pope in matters of faith and practices and drew attention to the need to continue the reform of the Roman Curia started at the Council of Constance. The article examines the way this conciliarist adapted ecclesiology to developing circumstances over the three phases of the Council of Trent, and points out the need to revise the monolithic, papalist view that historiography continues to present of early modern Spanish ecclesiological thought.

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Welch (book author), Ellen R., and John H. Astington (review author). "A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France." Renaissance and Reformation 41, no. 2 (June 21, 2018): 222–24. http://dx.doi.org/10.33137/rr.v41i2.29878.

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25

Mattison, Elizabeth Rice. "Swan, Claudia. Rarities of These Lands: Art, Trade, and Diplomacy in the Dutch Republic." Renaissance and Reformation 44, no. 1 (July 26, 2021): 313–16. http://dx.doi.org/10.33137/rr.v44i1.37106.

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26

Borsook, Eve. "Filippo Strozzi and the Two Plinys: Civic Pride, Diplomacy, and Private Taste in Quattrocento Naples and Florence." I Tatti Studies in the Italian Renaissance 23, no. 1 (March 2020): 77–99. http://dx.doi.org/10.1086/708194.

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27

Mailes, Alana. "Singing Nuns and Soft Power: British Diplomats as Music Tourists in Seicento Venice." Religions 13, no. 4 (April 6, 2022): 330. http://dx.doi.org/10.3390/rel13040330.

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Historians of early modern statecraft and confessional politics have traditionally treated the arts as peripheral to the more official bureaucratic concerns of government agents. Meanwhile, musicological scholarship rarely centers the experiences and exploits of politicians who participated in early modern musical events. This case study on British envoys to Venice in the early Stuart period illustrates how musical activity and political work were, in fact, thoroughly imbricated within the daily mechanics of cross-confessional ambassadorship. Drawing on seventeenth-century diplomatic sources, I detail how both English and Northern Italian politicians made strategic use of sacred music-making—particularly vocal performance in local nunneries—to influence their dealings with foreign states, as well as how English diplomats in the Italian peninsula surveilled Catholic musical devotions in their covert correspondences to communicate information about international affairs. In revealing these moments of interconnection between music, religion, and geopolitics, I seek to further recent efforts in the New Diplomatic History to highlight the contributions of women and artistic practice within histories of international relations.

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28

Cherkasov, Vladimir. "Number 13 / Part I. Music. 8. The Development of Music-Pedagogical Education of Ukraine in The 60's –70-ies of The XX Century." Review of Artistic Education 13, no. 1 (March 1, 2017): 66–78. http://dx.doi.org/10.1515/rae-2017-0008.

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Abstract The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.

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Rushton, Julian. "Definitive Diplomacy." Musical Times 133, no. 1797 (November 1992): 568. http://dx.doi.org/10.2307/1002577.

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FOSLER-LUSSIER, DANIELLE. "Music Pushed, Music Pulled: Cultural Diplomacy, Globalization, and Imperialism*." Diplomatic History 36, no. 1 (January 2012): 53–64. http://dx.doi.org/10.1111/j.1467-7709.2011.01008.x.

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31

Calderón Quindós, Fernando, and M. Teresa Calderón Quindós. "Rousseau’s Languages: Music, Diplomacy, and Botany." Janus Head 16, no. 2 (2018): 80–93. http://dx.doi.org/10.5840/jh201816214.

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Little attention has been paid to some aspects of Jean-Jacques Rousseau’s intellectual activity compared with others. His affairs as a diplomat, his contribution to music, and his affection for botany are only three of them. This article shows their connections with forms of expression in which words are replaced by other kinds of graphic representation, such as ideographic signs for their evocation and numbers for their efficiency and simplicity. These contributions were collected in his first and last intellectual projects: Project for Musical Notation (1742), a young man’s idealistic challenge presented before Paris Académie des Sciences–and rejected by them; and Characters of Botany (1776-1778), a private senescence enterprise.

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32

Panasiuk, Valerii, Ihor Borko, Taisiia Khvostova, Andrii Maslov-Lysychkin, and Anastasiia Yermukanova. "Music as a Communication Factor in Foreign Policy." Studies in Media and Communication 10, no. 3 (December 17, 2022): 160. http://dx.doi.org/10.11114/smc.v10i3.5847.

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The relevance of this study is conditioned by the increasing importance of cultural channels of communication in the context of the globalisation of international socio-cultural space. The realities of the 21st century require a comprehensive analysis, considering the new foreign policy environment where multidirectional flows of international communication, including of media character, such as cinematography, theatre, TV, streaming, and music, are playing a qualitatively new role. This paper will therefore focus on the growing role of “cultural diplomacy” (hereafter without the quotes), expressed through the media interaction of sovereign and supranational actors at the international level. The purpose of the study is to establish or deny the impact of cultural diplomacy, including through musical performance, on foreign policy and political discourse at the international level. In the course of the study, primary data from original research by European and American authors was analysed and the heterogeneous structure of cultural diplomacy theory, expressed through the dialectical nature of positivism and theory criticism, was represented. The methodological basis used during the study is expressed in general scientific methods, which include the method of analysis, synthesis, generalisation, deduction and induction, and special – sociocultural, cultural-anthropological, and cultural-historical. The theoretical approach to the study of the multidimensional phenomenon of cultural diplomacy was based on constructivism, which best meets the objectives. Conclusions regarding the effectiveness of cultural diplomacy were drawn from the research. The field of music and diplomacy is far from being exhausted by the recent surge in scholarly attention and has the potential to grow exponentially. Coordinating a better understanding of past practices with an innovative and flexible approach to contemporary policy-making will create new opportunities to reconsider and redefine the role of music in the pursuit of sustainable diplomatic ties in the international arena.

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33

Nelson, Michael. "Hippocratic Diplomacy." Diplomatic History 43, no. 1 (October 10, 2018): 229–31. http://dx.doi.org/10.1093/dh/dhy076.

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34

Gordon, Joel. "Mummy Diplomacy." Diplomatic History 28, no. 3 (June 2004): 455–58. http://dx.doi.org/10.1111/j.1467-7709.2004.00421.x.

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35

Lawson, Steven F. "Desegregating Diplomacy." Diplomatic History 25, no. 1 (January 2001): 147–52. http://dx.doi.org/10.1111/0145-2096.00255.

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YOUNG, J. W. "French Diplomacy." History 75, no. 245 (January 1990): 425–29. http://dx.doi.org/10.1111/j.1468-229x.1990.tb01527.x.

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Eckes, Alfred E. "Economic Diplomacy." Diplomatic History 22, no. 1 (January 1998): 131–36. http://dx.doi.org/10.1111/1467-7709.00107.

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Stuart, Reginald C. "Confederation Diplomacy." Diplomatic History 23, no. 2 (April 1999): 371–78. http://dx.doi.org/10.1111/1467-7709.00170.

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ANSARI, EMILY ABRAMS. "Aaron Copland and the Politics of Cultural Diplomacy." Journal of the Society for American Music 5, no. 3 (July 13, 2011): 335–64. http://dx.doi.org/10.1017/s1752196311000162.

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AbstractScholars have largely ignored Aaron Copland's lengthy career as a cultural diplomat, although the documentation surrounding it sheds new light on his political views. Through a consideration of his work with the U.S. government during World War II and the Cold War this article argues that a brand of universalist internationalism, rooted in his earlier musical experiences in Europe and in his leftist politics, motivated many of Copland's political activities at home and overseas during this period. Copland remained committed to this perspective both before and after his McCarthy hearing in 1953, but the Cold War inevitably brought new challenges to a man with such an outlook. Copland's work with the U.S. Information Agency during this period shows that although his beliefs and attitudes remained unchanged, he felt the need to participate in a reconstruction of his image that better matched the new climate. His music written during the Cold War, furthermore, provides an artistic realization of this interaction between pragmatism and idealism.

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Montgomery, David. "Workers and Diplomacy." Diplomatic History 34, no. 4 (August 2, 2010): 727–31. http://dx.doi.org/10.1111/j.1467-7709.2010.00886.x.

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Weaver, Andrew H. "The Materiality of Musical Diplomacy in Early Modern Europe." Journal of Musicology 35, no. 4 (2018): 460–97. http://dx.doi.org/10.1525/jm.2018.35.4.460.

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In 1648 Andreas Rauch, an Austrian composer living in the Hungarian town of Sopron, published the Currus triumphalis musicus, a collection of thirteen Latin motets, each dedicated to a different Habsburg Holy Roman Emperor. With its sumptuous paratexts and impressive musical scope, this “triumphal musical chariot” was not a typical commercial commodity. Instead the volume functioned as an assertion of Habsburg power at the end of the Thirty Years’ War (1618–48). A straightforward reading of the book is complicated, however, by the exile of Rauch, a Lutheran, from Austria in the 1620s. This musical panegyric, produced by a composer with a troubled relationship to the honoree, opens the door to a reading of the print as an act of diplomacy, in which the composer not only seeks reconciliation by acknowledging the Emperor’s power but also subtly admonishes the Habsburgs in the wake of a peace settlement that was decidedly more favorable to his side. Through close readings of the paratexts and the texts of the musical works against a political and theological backdrop, it is possible to uncover the diplomatic functions of the print for Ferdinand III, the town of Sopron, and Rauch himself. In shedding light on a fascinating cultural artifact, this article offers a fresh perspective on the diplomatic potential of printed music in early modern Europe.

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Fisher, Ali. "Music for the Jilted Generation: Open-Source Public Diplomacy." Hague Journal of Diplomacy 3, no. 2 (2008): 129–52. http://dx.doi.org/10.1163/187119108x323655.

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AbstractThe development of new technology has spawned different ideas and new approaches to engaging with people around the world. One such development is the ability to approach public diplomacy based on the methodology employed in the production of open-source software. This approach provides the means to engage with communities of other concerned actors, communicatae through human voices, place emphasis on understanding lessons from previous initiatives, and vitally engage on the bases of the interests of those communities. Ideas can no longer be seen as owned by a country; mass communication provides the means to see beyond national claims of unity. Recognizing this and embracing the means to engage with communities that are defined by ideology rather than physical borders provides the potential to render public diplomacy initiatives more relevant to the target audience and ultimately more influential.

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Wubs-Mrozewicz, Justyna, and Alain Wijffels. "Diplomacy and Advocacy." Tijdschrift voor rechtsgeschiedenis 84, no. 1-2 (June 14, 2016): 1–53. http://dx.doi.org/10.1163/15718190-08412p01.

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Against the background of the Northern Seven Years’ War, a Dutch fleet carrying salt from France to the Baltic was arrested in 1564 by the Danish authorities in the Sound, and only allowed to proceed after declaring under oath that they would not sell their cargo to Denmark’s enemy. Afterwards, having reached the Baltic, the fleet encountered a Swedish man-of-war which (according to the Dutchmen) forced them to sail to Stockholm, where the salt was sold at a fixed price. The fleet then sailed to Danzig, where the ships and goods were seized. The incident appears to have played a part in the closure of the Sound to Dutch trade by the Danish Crown, which tried to put pressure on the rulers of the Netherlands for their support in his war efforts. A practical solution to the diplomatic crisis was worked out in setting up a trial opposing the king of Denmark to the skippers of the seized ships before the municipal authorities of Danzig, a city under the overlordship of the King of Poland, who was allied to Denmark in the war against Sweden, while Danzig itself endeavoured to avoid any direct involvement in the warfare. The lawsuit followed the format of civil law procedure. The memorandum and rejoinders, together with a consilium to which a subscriptio by several law professors of Louvain was added, document how a political and diplomatic dispute could be defused and managed through quasi-judicial proceedings and legal arguments. An interim decree of the Danzig authorities discharged the Dutch skippers (1565) and that provisional outcome was eventually confirmed by the king of Poland’s final decision (1567).

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Stoler, Mark A., John M. Carroll, and George C. Herring. "Modern American Diplomacy." Journal of American History 74, no. 2 (September 1987): 553. http://dx.doi.org/10.2307/1900121.

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Macknight, Lorraine. "Politics, Patronage, and Diplomacy." Historical Reflections/Réflexions Historiques 47, no. 1 (March 1, 2021): 59–87. http://dx.doi.org/10.3167/hrrh.2021.470104.

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When a hymnbook is placed outside its more expected hymnological environment and put in a wider contextual framework, particularly a political one with significant diplomatic aspects, a better appreciation is gained of the hymnbook and the circumstances of its compilation. Critically, the complexity and progressive transparency of hymn transmission from one country to another is also revealed. This article focuses on Prussian diplomat Christian Karl Josias von Bunsen and his Gesang-und Gebetbuchs (1833). A primary source for several translators, notably Catherine Winkworth (1827–1878), the hymnbook directly affected the movement of many hymns from Germany to England, Scotland, and Australia.

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Krenn, Michael L. "The Diplomacy of Shame." Diplomatic History 26, no. 3 (July 2002): 503–9. http://dx.doi.org/10.1111/1467-7709.00323.

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Matar, D. "Bottom-Up Diplomacy: The PLO's Populist Diplomacy in the Cold War Era." Diplomatic History 38, no. 1 (April 19, 2013): 226–28. http://dx.doi.org/10.1093/dh/dht042.

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JACKAWAY, GWENYTH. "SELLING MOZART TO THE MASSES: CROSSOVER MARKETING AS CULTURAL DIPLOMACY." Journal of Popular Music Studies 11-12, no. 1 (March 1999): 125–50. http://dx.doi.org/10.1111/j.1533-1598.1999.tb00006.x.

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Eichner, Barbara. "Musical diplomacy in a divided city: the Lassus-Mayrhofer manuscripts." Early Music 48, no. 1 (February 2020): 55–74. http://dx.doi.org/10.1093/em/caz091.

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Abstract Gifts of music manuscripts continued to serve an important diplomatic function well into the 16th century. This article investigates the production, content and function of two choirbooks prepared by the Benedictine monk Ambrosius Mayrhofer of St Emmeram in Regensburg, which mainly contain sacred music by Orlande de Lassus. They were dedicated to Abbot Jakob Köplin of St Ulrich and Afra in Augsburg (1568) and the city council of Regensburg (1567) respectively. The programmatic opening motet and accompanying illuminations of the Regensburg choirbook suggest that it functioned as a politically motivated gift that helped to ‘harmonize’ the frictions within a city divided by ancient rights and new religious allegiances: Regensburg was a free imperial city with a predominantly Protestant population and council, but also harboured an episcopal see and several nunneries and monasteries (among them St Emmeram), with the Catholic Dukes of Bavaria as close and powerful neighbours. Mayrhofer’s music manuscript projects a conciliatory message that was particularly timely in the late 1560s, when the permission of Eucharistic communion under both kinds (with consecrated bread and wine) offered a short-lived hope of religious compromise.

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Lander, J. R., and G. P. Cuttino. "English Medieval Diplomacy." American Historical Review 94, no. 2 (April 1989): 423. http://dx.doi.org/10.2307/1866856.

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