The purpose of the author is to generalize, structure, systematize and
analyze profoundly the historical and factual material related to the
impact of ideology of the totalitarian state on German and Soviet
schools of saxophone playing. The relevance of the research is that
this branch of art criticism is insuffi ciently developed, and the sources
given in the present paper fi ll this gap.
Keywords: saxophone, jazz, ideology, totalitarianism, popular music.
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