Danielle Fosler-Lussier

Bio: Danielle Fosler-Lussier is an academic researcher. The author has contributed to research in topics: Bartok & Diplomacy. The author has an hindex of 4, co-authored 10 publications receiving 102 citations.

Music in America's Cold War Diplomacy

Abstract: List of Illustrations Acknowledgments Abbreviations Introduction: Instruments of Diplomacy 1. Classical Music and the Mediation of Prestige 2. Classical Music as Development Aid 3. Jazz in the Cultural Presentations Program 4. African American Ambassadors Abroad and at Home 5. Presenting America's Religious Heritage Abroad 6. The Double-Edged Diplomacy of Popular Music 7. Music, Media, and Cultural Relations between the United States and the Soviet Union Conclusion: Music, Mediated Diplomacy, and Globalization in the Cold War Era Notes Selected Bibliography Index

Music Divided: Bartók’s Legacy in Cold War Culture

Abstract: List of Illustrations Preface Note on Hungarian Pronunciation 1. Bartok's Concerto for Orchestra and the Demise of Hungary's "Third Road" 2. A Compromised Composer: Bartok's Music and Western Europe's Fresh Start 3. "Bartok Is Ours": The Voice of America and Hungarian Control over Bartok's Legacy 4. Bartok and His Publics: Defining the "Modern Classic" 5. Beyond the Folk Song or, What Was Hungarian Socialist Realist Music? 6. The "Bartok Question" and the Politics of Dissent: The Case of Andras Mihaly Epilogue East: Bartok's Difficult Truths and the Hungarian Revolution of 1956 Epilogue West: Bartok's Legacy and George Rochberg's Postmodernity Appendix 1: Compositions by Bartok Broadcast on Hungarian Radio, 18 September to 1 October 1950 Appendix 2: Biographical Notes Notes Selected Bibliography Index

Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America

Abstract: From 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.

Bela Bartok and Turn-of-the-Century Budapest

Abstract: Bartok's music is greatly prized by concertgoers, yet we know little about the intellectual milieu that gave rise to his artistry. Bartok is often seen as a lonely genius emerging from a gray background of an 'underdeveloped country.' Now Judit Frigyesi offers a broader perspective on Bartok's art by grounding it in the social and cultural life of turn-of-the-century Hungary and the intense creativity of its modernist movement. Bartok spent most of his life in Budapest, an exceptional man living in a remarkable milieu. Frigyesi argues that Hungarian modernism in general and Bartok's aesthetic in particular should be understood in terms of a collective search for wholeness in life and art and for a definition of identity in a rapidly changing world. Is it still possible, Bartok's generation of artists asked, to create coherent art in a world that is no longer whole? Bartok and others were preoccupied with this question and developed their aesthetics in response to it. In a discussion of Bartok and of Endre Ady, the most influential Hungarian poet of the time, Frigyesi demonstrates how different branches of art and different personalities responded to the same set of problems, creating oeuvres that appear as reflections of one another. She also examines Bartok's Bluebeard's Castle, exploring philosophical and poetic ideas of Hungarian modernism and linking Bartok's stylistic innovations to these concepts.

Parting the Curtain: Propaganda, Culture, and the Cold War, 1945–1961

Abstract: (1997). Parting the Curtain: Propaganda, Culture, and the Cold War, 1945–1961. History: Reviews of New Books: Vol. 26, No. 1, pp. 5-5.

Bibliography for Work in Hungarian Studies as Comparative Central European Studies

Abstract: The Library Series of the peer-reviewed, full-text, and open-access quarterly in the humanities and the social sciences CLCWeb: Comparative Literature and Culture publishes scholarship in the humanities and social sciences following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the Library Series are 1) articles, 2) books, 3) bibliographies, 4) resources, and 5) documents. Contact:

British Army Music in the Interwar Years: Culture, Performance and Influence

Abstract: This thesis aims to identify how British army bands in the interwar years were a primary stakeholder in the music industry and to explore their role in projecting soft power for the British military. There were approximately 7,000 full-time bandsmen serving in the British army, which was about a third of the total number of musicians in the music profession in the United Kingdom. The War Office was the largest employer of professional musicians in the country and yet there has been very little acknowledgement of the contribution made by this body of musicians, both to the music industry and to the effectiveness of army operations. This thesis uses models from the business and management literature to interrogate the position of British army music within the context of military structures and the music industry in the interwar years. It reveals the extent that residential insitutions were organised to provide young boys for recruitment into the army as bandsmen and how these boys became an integral part of the music industry. It explores how army music set the standard for training and performance while creating sustainability for the music industry, which relied upon the existence of army bands for its business. The thesis then exposes the tempestuous relationship army bands had with the BBC and recording industry, as well as the function the military played in the adoption of an international standard of musical pitch. Finally, it uncovers the effective role and soft power influence of British army bands and their music in the maintenance of British imperial authority, at home and overseas, and the tragic consequences of operating at the forefront of the military campaign in Ireland.

British Musical Modernism: The Manchester Group and their Contemporaries

Abstract: British Musical Modernism explores the works of eleven key composers to reveal the rapid shifts of expression and technique that transformed British art music in the post-war period. Responding to radical avant-garde developments in post-war Europe, the Manchester Group composers - Alexander Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and their contemporaries assimilated the serial-structuralist preoccupations of mid-century internationalism to an art grounded in resurgent local traditions. In close readings of some thirty-five scores, Philip Rupprecht traces a modernism suffused with the formal elegance of the 1950s, the exuberant theatricality of the 1960s, and - in the works of David Bedford and Tim Souster - the pop, minimalist, and live-electronic directions of the early 1970s. Setting music-analytic insights against a broader social-historical backdrop, Rupprecht traces a British musical modernism that was at once a collective artistic endeavor, and a sounding myth of national identity.