I am deeply grateful to the musicians and diplomats who generously offered their time and knowledge to make this project come to life. Among them, Richard Crawford stands out, not only for the vividness of his recollections but also for the probing questions he asked me during our interview and his subsequent support of this project. Susie Crofut, Joe Mallare, Lanny Austin, Rudy Grasha, Kyle Lehning, Barry Campbell, Walter Denny, and Bruce Fisher graciously allowed me access to their personal collections of photographs, audio recordings, and other documents about their tours.
As ever, I appreciate Richard Taruskin’s keen editorial eye and unflagging enthusiasm. I am indebted to Peter Schmelz, Emily Abrams Ansari, and Tim Scholl for years of good conversation about cultural diplomacy, for sharing relevant sources, and for suggestions on portions of this work. Nicholas Cull, Beth E. Levy, Nathaniel G. Lew, Maribeth Clark, Leslie Sprout, Eric Fosler-Lussier, and an anonymous reader provided valuable comments on the manuscript. Ryan Thomas Skinner, Steve Swayne, and Dorothy Noyes offered supportive feedback, as did the members of my graduate seminar, Dana Plank-Blasko, Matthew Campbell, Cole Harrison, and Heike Hoffer. Laura Belmonte shared a key source at the right moment. Lisa Jakelski and Cindy Bylander helped me interpret Polish materials. Hye-jung Park translated Japanese and Korean sources, and Emily Erken located and translated Russian-language documents. I am grateful to Jennifer Siegel for Russian language consultation and to Julian Halliday for typesetting Figure 2.
Many helpful archivists made my research a pleasure. Particular thanks go to David Langbart at the National Archives; Ricky Riccardi and Lesley Zlabinger at the Louis Armstrong House Museum; John Pollack at the Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania; Nancy Wicklund and Amy Kimura at Westminster Choir College of Rider University; Dan Morgenstern, Elizabeth Surles, and Tad Hershorn at the Institute of Jazz Studies at Rutgers University; Ken Grossi at the Oberlin College Archives; Susan Stafura of the Duquesne University Tamburitzans; and Wendy Chmielewski at the Swarthmore College Peace Collection. At various times I have benefited from research assistance from Deborah Ruhl, Jeannette Getzin, Angela Black, Lauren Owens Galle, Paul Covey, Robert Lintott, N. Michael Goecke, Jennifer Stevens, Matthew Campbell, Chelsea Hodge, Austin McCabe-Juhnke, and James Naumann. Eric Fosler-Lussier coauthored the website accompanying this book.
For financial support I am indebted to the National Endowment for the Humanities, the Mershon Center for International Security Studies, and the Ohio State University College of Arts and Sciences. Publication subventions were generously provided by the Gustave Reese Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation; and by the Society for American Music’s H. Earle Johnson Publication Subvention fund.
Some of the material presented in this book has appeared previously as follows: portions of the introduction and chapter 1 appear as “Instruments of Diplomacy: Writing Music into the History of Cold War International Relations,” in Music and International History, edited by Jessica Gienow-Hecht (Oxford: Berghahn, forthcoming). Parts of chapters 1 and 6 draw on “American Cultural Diplomacy and the Mediation of Avant-Garde Music,” in Sound Commitments: Avant-Garde Music and the Sixties, edited by Robert Adlington (Oxford University Press, 2009), 232–53; this material is used by permission of Oxford University Press, USA. Portions of the introduction and chapter 8 appeared in “Music Pushed, Music Pulled: Cultural Diplomacy, Globalization, and Imperialism,” contribution to the special forum “Musical Diplomacy: Strategies, Agendas, Relationships,” Diplomatic History 36, no. 1 (2012): 53–64. Portions of chapters 3 and 8 also draw on “Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America,” Journal of the Society for American Music 4, no. 1 (2010): 59–93.
It has been a pleasure to work with Mary Francis, Bradley Depew, and Rachel Berchten at the University of California Press, and the keen editorial eye of Joe Abbott is greatly appreciated.
Most of all, I am grateful for Eric Fosler-Lussier’s belief in the value of this project. His wholehearted support, along with that of Isaac and Elliott Fosler-Lussier and Joanne and Roger Lussier, has made this book possible.