Black music, white freedom: Times and spaces of jazz countercultures in the USSR

Blackening Europe: The African American Presence

Volumn , Issue , 2012, Pages 73-84

  Novikova, Irina ^a  

^a UNIVERSITY OF LATVIA   (Latvia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61449547943     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203446157     Document Type: Chapter

References (9)

1. Eric Hobsbawm, Uncommon People: Resistance, Rebellion, Jazz(London, New York: Weidenfeld & Nicolson/New Press, 1998), 265.
2. Frederick S. Starr, Red and Hot: The Fate of Jazz in the Soviet Union 1917-1980(New York: Oxford University Press, 1983), 259.
3. Sergei Belichenko,“A True History of Jazz in Russia Has Not Been Written Yet!,”www.lebed. com/art2046.htm (23 January 2003). Translation mine.
4. Oleg Stepurko, “Jazz Sketches,”www.jazz.ru/books/stories/9.htm (23 January 2003). Translation mine.
5. Sabidjan Kurmaev, “Jazz-Music of the Twentieth Century,” www.lebed.com/art2392.html(23 January 2003). Translation mine.
6. Burton W. Peretti, Creation of Jazz Music, Race and Culture in Urban America(Urbana: University of Illinois Press, 1992), 120.
7. Edward W. Said, Musical Elaborations(New York: Columbia University Press, 1991), 57.
8. Stuart Hall, “Cultural Identity and Cinematic Representation,” in Black British Cultural Studies: A Reader, ed. Houston Baker Jr., Manthia Diawara, and Ruth Lindeborg (Chicago: University of Chicago Press, 1996), 213.
9. Efim Barban, Black Music, White Freedom: Music and Perceptions of New Jazz (Leningrad: samizdat, 1977). samizdat stood mostly for banned books, painstakingly multiplied on carbon copies paper with the help of a regular typewriter.