The role of jazz music in Cold War propaganda and the respect which foreign audiences attributed to it greatly influenced its place in American culture. However, its wider cultural acceptance by the early 1950s was  aided by significant developments in musical styles and performance environments. The ability of musicians, critics, and promoters to equate jazz with a genuine artistic sensibility derived partly from changes that brought one wing of the music (classified as Cool Jazz, Third Stream, and West Coast Jazz) "closer to the appearance of a fashionable and utterly respectable modernist classical music". Musicians like Dave Brubeck and Miles Davis enjoyed immense success and became household names. This transition brought into sharp relief the extent to which race relations within the United States were transforming at this point in time with greater emphasis on social de-segregation and integration. These developments would both influence and be influenced by the radical changes in how Jazz music was composed, recorded, and performed live. The broader racial composition of musicians and audiences would manifest itself in the form of more diverse, sometimes oppositional, musical styles; the Afro-American influence of the blues and spirituals clashing against and melding with the modernist aesthetics of European classical music. Tracks: Dave Brubeck Quartet - 'Le Souk' (Dave Goes To College) Dave Brubeck Quartet - 'Take Five' (Time Out) Duke Ellington - 'Diminuendo In Blue' (Live at Newport) Modern Jazz Quartet - 'Between the Devil and the Deep Blue Sea' (The Modern Jazz Quartet) Lennie Tristano - 'Wow' Dizzy Gillespie - 'Swing Low, Sweet Cadillac (The Ebullient Mr. Gillespie) Shorty Rogers - 'Short Stop' (Cool and Crazy) Miles Davis - 'Moon Dreams' & 'Budo' (Birth of the Cool) Miles Davis Sextet - 'Walkin' (Walkin') EMCK