Jazz in US Public Diplomacy towards the USSR (1962-1971): Is Music an Effective Tool of Strategic Communications?

美国对苏联公共外交中的爵士乐（1962-1971）：音乐是战略沟通的有效工具吗？

• 批准号: 2613442
• 金额: --
• 依托单位: King's College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2613442
• 关键词: Jazz; US; Public; Diplomacy; towards

In the 1950s jazz became the primary force in Americancultural diplomatic efforts. It consolidated itself as ametaphorical representation of the core principles ofAmerican democracy, as the two shared an inherenttension between structure and agency, rigid rules andimprovisation. This simple but powerful metaphorprompted the Eisenhower administration to establish theCultural Presentations Programme, which paid so-called'jazz ambassadors' to perform all over the world, therebyadvertising the appeal of American cultural and politicalvalues.This PhD explores US-sponsored jazz tours to the USSR-byBenny Goodman's big band in 1962 and Duke Ellington'sband in 1971-from a Strategic Communicationsperspective. It locates these tours within a broaderframework of Public Diplomacy, which ran against thebackdrop of heightened tensions between the superpowersand was woven into discourses around threats of violenceand mutually assured destruction. By investigating the roleof the jazz tours in superpower cultural relations, this studywill illuminate their relationships with geopolitical andmilitary contexts of the Cold War. Ultimately, this PhD aimsto offer a fresh conceptual understanding around musicculturaldiplomacy. It argues that the jazz tours (i)underpinned US foreign policy with a values-baseddiscourse; (ii) opened a direct route to networks of'persuadable' soviet citizens; (iii) acted as a safety-valve tokinetic threats in geopolitics of the US-USSR.

在20世纪50年代，爵士乐成为美国文化外交努力的主要力量。它巩固了自己作为美国民主核心原则的象征性代表，因为两者在结构和代理，严格的规则和即兴之间存在着内在的张力。这个简单而有力的比喻促使艾森豪威尔政府建立了文化展示计划，该计划支付所谓的“爵士乐大使”在世界各地演出，从而宣传美国文化和政治价值观的吸引力。这篇博士论文从战略传播的角度探讨了美国赞助的爵士乐图尔斯到苏联的巡演--1962年本尼·古德曼的大乐队和1971年杜克·艾灵顿的乐队。它将这些图尔斯之旅置于更广泛的公共外交框架内，这一框架是在超级大国之间紧张局势加剧的背景下进行的，并被编织成围绕暴力威胁和相互确保毁灭的话语。通过对爵士乐图尔斯巡演在超级大国文化关系中的作用的研究，本研究将阐明其与冷战地缘政治和军事背景的关系。最终，这个博士旨在围绕音乐文化外交提供一个新的概念理解。它认为，爵士乐图尔斯（一）巩固了美国的外交政策与价值观为基础的话语;（二）开辟了一条直接的路线，以网络的“说服”苏联公民;（三）作为一个安全阀，以动力学的威胁，在美苏地缘政治。