Author: Gregory J. Massell The attempted modernization of Central Asia by the central Soviet government in the 1920's was a dramatic confrontation between radical, determined, authoritarian communists and a cluster of traditional Moslem societies based on kinship, custom, and religion. The Soviet authorities were determined to undermine the traditional social order through the destruction of existing family structures and worked to achieve this aspect of revolution through the mobilization of women. Gregory J. Massell's study of the interaction between central power and local traditions concentrates on the development of female roles in revolutionary modernization. Women in Moslem societies were segregated, exploited, and degraded; they were, therefore, a structural weak point in the traditional ordera surrogate proletariat. Through this potentially subversive group, it was believed, intense conflicts could be generated within society which would lead to its disintegration and subsequent reconstitution. The first part of the book isolates the trends that made Central Asia vulnerable to outside intervention, and examines the factors that impelled the communist elites to turn to Moslem women as potential revolutionary allies. In the second part, Professor Massed analyzes Soviet perceptions of female inferiority and of the revolutionary potential of Moslem women. Part Three is an account of specific Soviet actions based on these assumptions. The fourth part of the book deals with the variety of responses these actions evoked.Originally published in 1974.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Author: By Iain Anderson This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis, taking as its example the impact of 1960s free improvisation on the changing status of jazz. By examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. Thus jazz music's performers and supportersand potentially those in other artshave both challenged and accommodated themselves to an ongoing process of cultural stratification.