1 See, for example, the following accounts of the Cold War in France: Carroll Mark, Music and Ideology in Cold War Europe (Cambridge: Cambridge University Press, 2003), and Sprout Leslie, ‘The 1945 Stravinsky Festival: Nigg, Messiaen, and the Early Cold War in France’, Journal of Musicology 26/1 (2009), 85–131. Joy Calico and Laura Silverberg have done admirable research on music in the GDR: see Calico , Brecht at the Opera (Berkeley: University of California Press, 2008), and Silverberg , ‘Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic’, Journal of Musicology 26/1 (2009), 44–84. On West Germany see Beal Amy C., New Music, New Allies: American Experimental Music in West Germany from Zero Hour to Reunification (Berkeley: University of California Press, 2006), and Calico Joy H., ‘Schoenberg's Symbolic Remigration: A Survivor from Warsaw in Postwar West Germany’, Journal of Musicology 26/1 (2009), 17–43. An alternative perspective on Hungary is provided by Fosler-Lussier Danielle, Music Divided: Bartók's Legacy in Cold War Culture (Berkeley: University of California Press, 2007). Poland's cultural situation offers intriguing parallels and contrasts to Beckles Willson's account of Hungarian musical life: see Thomas Adrian, Polish Music since Szymanowski (Cambridge: Cambridge University Press, 2005), and Jakelski Lisa, ‘Górecki's Scontri and Avant-Garde Music in Cold War Poland’, Journal of Musicology 26/2 (2009), 205–39.
2 Beckles Willson Rachel, György Kurtág, The Sayings of Péter Bornemisza, Op. 7: a ‘Concerto’ for Soprano and Piano (Aldershot and Burlington, VT: Ashgate, 2003).
3 Judt Tony, Postwar: a History of Europe since 1945 (New York: Penguin Press, 2005), 103–4.
4 See, for example, Fosler-Lussier, Music Divided, 1–27, and Thomas, Polish Music since Szymanowski, 40–79.
5 For accounts of individual composers’ ‘agency’ in the Soviet context see Tomoff Kiril, Creative Union: the Professional Organization of Soviet Composers, 1939–1953 (Ithaca, NY: Cornell University Press, 2006), and Mikkonen Simo, Music and Power in the Soviet 1930s: a History of Composers’ Bureaucracy (Lewiston, NY: Edwin Mellen Press, 2009).
6 Gumbrecht Hans-Ulrich, ‘Production of Presence, Interspersed with Absence: a Modernist View on Music, Libretti, and Staging’, in Music and the Aesthetics of Modernity: Essays, ed. Berger Karol and Newcomb Anthony (Cambridge, MA: Harvard University Press, 2005), 345 and 355.
7 Nancy Jean-Luc, The Birth to Presence, trans. Holmes Brian and others (Stanford: Stanford University Press, 1993), 368.
8 MacDonald Ian's The New Shostakovich (London: Pimlico, 2006) is just one example of the simplification that can result from overzealous hermeneutic digging. For a rebuttal see Taruskin Richard, ‘Public Lies and the Unspeakable Truth: Interpreting the Fifth Symphony’, in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton: Princeton University Press, 1997), 511–44.
9 Brody Martin, ‘“Music for the Masses”: Milton Babbitt's Cold War Music Theory’, Musical Quarterly 77/2 (1993), 161–92.
10 Shreffler Anne C., ‘Ideologies of Serialism: Stravinsky's Threni and the Congress for Cultural Freedom’, in Music and the Aesthetics of Modernity, ed. Berger and Newcomb , 218.
11 Timothy Garton Ash has written compellingly on Central Europe. See his The Uses of Adversity: Essays on the Fate of Central Europe (New York: Random House, 1989) and History of the Present: Essays, Sketches, and Dispatches from Europe in the 1990s (New York: Random House, 1999).