Jazz music in the discourse of power and cultural policy of the USSR during the period of late Socialism ( 1950s — 1980s)

The author discusses the formation and development of jazz music in the USSR in the context of the cultural policy of the Soviet government. The subject of the study is jazz music in the cultural discourse of the Soviet government from the 1950s to the 1980s. The object of the study is the actions of the Soviet government aimed at adapting jazz music to the socio-cultural landscape of the USSR during the period of late socialism. Special attention is paid to the interaction of representatives of jazz culture in the USSR and the Soviet government, as well as the formation of underground culture within jazz music in the USSR. Such aspects of the topic as the reasons for changes in cultural policy towards jazz music in the designated period and the results of activities and motives for the formation of the underground within jazz music in the USSR are considered in detail. The methodology is based on a historical and cultural approach, which helps to shift the emphasis from a linear historical narrative to local socio-cultural spaces and their inclusion in a common global space. The main methods used by the author are historical-genetic, historical-systemic methods. The novelty of the research lies in determining the role of the Soviet state as the most important actor that influenced both the adaptation of jazz music to the realities of the USSR and the emergence of a jazz underground community within it. According to the author, a special role in these processes was played by the phenomenon of "pop and jazz ensembles", as well as the construction of an image of elite music for intellectuals around jazz, as opposed to destructive rock music, which penetrated and enjoyed great popularity in the USSR. Formally, from the late 1950s to the late 1980s, jazz music gradually became more accessible and official, however, this did not lead it to popularity in the USSR, which is explained by the peculiarities of its official positioning and the compromise nature of "pop-jazz ensembles", which generally have little in common with authentic jazz.

jazz in the USSR, musical culture of the USSR, musical underground of the USSR, cultural policy of the USSR, soviet jazz, culture of late socialism, culture during the thaw, pop-jazz music of the USSR, unofficial culture of the USSR, jazz underground in the USSR