Titlebook: International Relations, Music and Diplomacy; Sounds and Voices on Frédéric Ramel,Cécile Prévost-Thomas Book 2018 The Editor(s) (if applica

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STING

2945-607X e notion of the stage and therefore the representation of thThis volume explores the interrelation of international relations, music, and diplomacy from a multidisciplinary perspective. Throughout history, diplomats have gathered for musical events, and musicians have served as national representati

overhaul

Book 2018omats have gathered for musical events, and musicians have served as national representatives. Whatever political unit is under consideration (city-states, empires, nation-states), music has proven to be a component of diplomacy, its ceremonies, and its strategies. Following the recent acoustic turn

商業(yè)上

水汽

,Introduction: Understanding Musical Diplomacies—Movements on the “Scenes”,national relations. The reflection presented in this book aims to contribute to this turning point by putting the emphasis and the focus on the notion of “scenes.” The perspective adopted in this volume is to study music as a series of movements in international relations defined as scenes. The diff

使饑餓

companion

Mystic

Targeting New Music in Postwar Europe: American Cultural Diplomacy in the Crafting of Art Music Avaneriod of intense innovation has been marked by very active intervention of cultural diplomacies in a Cold War context: cultural diplomacy of the Americans (governmental and non-governmental) in Europe and of the European Allies in their occupation zones in Germany. Yet Cold War studies have examined

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collateral

The Diplomat’s Music Test: Branding New and Old Diplomacy at the Beginning of the Nineteenth and Tweth century to the present, music has been a flagship of new programs in cultural and public diplomacy. Conversely, at the beginning of the nineteenth century, musical diplomacy appeared to betray a misguided attachment to . practices and the enjoyments of good society. These opposite assessments bot