Music and Change in the Eastern Baltics Before and After 1989

Małgorzata Janicka-Słysz is a music theorist, head of theDepartment of Theory and Interpretation of Musical Work at Krzysztof Penderecki Academy of Music,Krakow, a member of the editorial board of the journal Theory of Music,and professor at the Academy of Music, Krakow. She is the author of VytautasBacevićius i jego idee muzyki kosmicznej (2001) and Poetyka muzycznaKarola Szymanowskiego. Studia i interpretacje (2013). Rūta Stanevičiūtė is a musicologist, director of theResearch Centre at the Lithuanian Academy of Music and Theatre, and achief-editor of the journal Lithuanian Musicology. She is the author of TheFigures of Modernity: The International Society for Contemporary Music andthe Spread of Musical Modernism in Lithuania (VDA, 2015), and the co-authorof Nylon Curtain: Cold War, International Exchange and Lithuanian Music(LMTA, 2018), and Sound Utopias: Lithuanian Music Modernization inContext (2021).

• IntroductionRūta Stanevičiūtė and Małgorzata Janicka-SłyszPart One: Cultural Encounters and Musicians’ Networking1. From Ignorance to Familiarity: Lithuanian and Polish Musical Networking During the Cold WarRūta Stanevičiūtė, Lithuanian Academy of Music and Theatre2. On Forms of Memory and Freedom in Polish and Lithuanian Music before and after 1989Małgorzata Janicka-Słysz, Krzysztof Penderecki Academy of Music, Krakow3. The Musical Meetings in Baranów and Sandomierz as Oases of FreedomDominika Micał, Krzysztof Penderecki Academy of Music, Krakow4. Rebellion and Identity: A Generational Breakthrough in Polish Music in the 1970sKinga Kiwała, Krzysztof Penderecki Academy of Music, KrakowPart Two: The Musical Expression of Cultural and Political Liberation5. The Idea of Freedom in Krzysztof Penderecki’s Works: From Experience to ExpressionIwona Sowińska-Fruhtrunk, Krzysztof Penderecki Academy of Music, Krakow6. Nodes and Turning Points in the Life and Art of Henryk Mikołaj Górecki as a Resonance of Polish Politics and History in the Second Half of the Twentieth CenturyTeresa Malecka, Krzysztof Penderecki Academy of Music, Krakow7. The Dimensions of Freedom in Wojciech Marczewski’s Movie Escape from the “Liberty” Cinema and Witold Leszczyński’s Siekierezada (Axiliad): Music Functions in FilmsEwa Czachorowska-Zygor, Krzysztof Penderecki Academy of Music, Krakow8. Lithuanian Music in Transition: Independent Festivals of the 1980s and 1990sVita Gruodytė, Lithuanian Academy of Music and TheatrePart Three: Music and Politics before and after the Fall9. Disco Culture and the Ritual Journey in the Soviet 1980sKevin C. Karnes, Emory University10. The Ganelin Trio, Rova Saxophone Quartet, and US-Soviet Cultural Exchanges in the 1980sPeter J. Schmelz, Arizona State University11. On the Other Side of Freedom: The Band Miłość and the Polish Yass SceneAndrzej Mądro, Krzysztof Penderecki Academy of Music, Krakow12. Critics’ Choice: New Russian Music Criticism and Leonid DesyatnikovOlga Manulkina, Saint Petersburg State UniversityEditors and ContributorsIndex of Names

“ The reports included in Music and Change are well documented by the authors. [T]he overriding thesis of the twelve articles in this book is confirmation of the relationship between music and change in the form of liberation and political transformation. With its distinguished international editorial board, we should look forward to the publishers releasing other stimulating studies of music in Eastern Europe”.—William Smialek, The Polish Review“Music and Change is a good example of discoursive value production and could be an interesting case by itself as a subject of research for a more reflexive sociological study of music.”—Liutauras Kraniauskas, Zeitschrift für Ostmitteleuropa-Forschung“This collection evokes a rich music historiography, underscoring the value of focusing on scenes and local events, notably highlighted by Karnes. It features a methodological emphasis on network-driven analysis, facilitating a comparative exploration of intricate musical interconnections. Furthermore, several discussions, especially by Schmelz, accentuate the perpetual flux in interpretive meanings, particularly regarding concepts such as ‘freedom’. They elucidate the continuous reinvention and dynamic nature of these ideas for both scholars and the musicians they study. Collectively, these significant perspectives intertwine, offering a multifaceted lens to comprehend the complex musical narratives within the Eastern Baltics.”—Živilė Arnašiūtė, SEER