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ProQuest Dissertations and Theses is a collection of scholarly research in the Humanities and Social Sciences that consists of 2.7 million searchable citations to dissertations and theses from around the world, and 1.2 million full-text dissertations that are available for download in PDF format. Coverage is from 1861 to the present day.
Russian Music Since 1917 : Reappraisal and rediscovery
"This ground-breaking collection of essays, which arises from a unique collaboration between leading scholars based on either side of the former Iron Curtain, is the first attempt to appraise the current state of research on the development of Russian art music since the 1917 Revolution. Part I provides a comprehensive critical overview of recent research both in Russia itself and outside it, outlining the principal changes in approach and emphasis. The remaining essays engage with topics of key importance, including: the envisionings of music's place in Soviet and post-Soviet cultural life; the effects of state controls on musical creativity and performance; musical institutions; the Russian musical diaspora; and the transition to the post-Soviet period. The contributions vividly illustrate the transformation of scholarship in the field since glasnost. In the USSR, scholarship had been seriously hindered by censorship, while in the West, Soviet music and musical life tended to be assessed from entrenched aesthetic and ideological standpoints engendered by the Cold War. The dramatically changed climate of the post-Soviet period has made possible a more objective and informed discussion of many issues, and has led scholars to question the validity of 'top-down' models of the interaction between musicians and the state that had previously been predominant. The book will be not only be a valuable resource for university courses on Russian music at undergraduate and postgraduate level, but essential reading for all those interested in Soviet and post-Soviet culture."
"This volume is a comprehensive and detailed survey of music and musical life of the entire Soviet era, from 1917 to 1991, which takes into account the extensive body of scholarly literature in Russian and other major European languages. In this considerably updated and revised edition of his 1998 publication, Hakobian traces the strikingly dramatic development of the music created by outstanding and less well-known, 'modernist' and 'conservative', 'nationalist' and 'cosmopolitan' composers of the Soviet era. The book's three parts explore, respectively, the musical trends of the 1920s, music and musical life under Stalin, and the so-called 'Bronze Age' of Soviet music after Stalin's death. Music of the Soviet Era: 1917-1991considers the privileged position of music in the USSR in comparison to the written and visual arts. Through his examination of the history of the arts in the Soviet state, Hakobian's work celebrates the human spirit's wonderful capacity to derive advantage even from the most inauspicious conditions."
Classics for the Masses : Shaping Soviet musical identity under Lenin and Stalin
"Musicologist Pauline Fairclough explores the evolving role of music in shaping the cultural identity of the Soviet Union in a revelatory work that counters certain hitherto accepted views of an unbending, unchanging state policy of repression, censorship, and dissonance that existed in all areas of Soviet artistic endeavor. Newly opened archives from the Leninist and Stalinist eras have shed new light on Soviet concert life, demonstrating how the music of the past was used to help mold and deliver cultural policy, how "undesirable" repertoire was weeded out during the 1920s, and how Russian and non-Russian composers such as Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov were "canonized" during different, distinct periods in Stalinist culture. Fairclough's fascinating study of the ever-shifting Soviet musical-political landscape identifies 1937 as the start of a cultural Cold War, rather than occurring post-World War Two, as is often maintained, while documenting the efforts of musicians and bureaucrats during this period to keep musical channels open between Russia and the West."
Stalin's Music Prize : Soviet culture and politics
"Marina Frolova-Walker's fascinating history takes a new look at musical life in Stalin's Soviet Union. The author focuses on the musicians and composers who received Stalin Prizes, awarded annually to artists whose work was thought to represent the best in Soviet culture. This revealing study sheds new light on the Communist leader's personal tastes, the lives and careers of those honored, including multiple-recipients Prokofiev and Shostakovich, and the elusive artistic concept of "Socialist Realism," offering the most comprehensive examination to date of the relationship between music and the Soviet state from 1940 through 1954."
Fear and the Muse Kept Watch : the Russian masters--from Akhmatova and Pasternak to Shostakovich and Eisenstein--under Stalin
"Can great art be produced in a police state? Josef Stalin ran one of the most oppressive regimes in world history. Nevertheless, Stalinist Russia produced an outpouring of artistic works of immense power. More than a dozen great artists were visible enough for Stalin to take an interest in them - which meant he chose whether they were to live in luxury and be publicly honoured or to be sent to the Lubyanka for torture and execution. Journalist and novelist Andy McSmith brings together the stories of these artists, revealing how they pursued their art, often at great risk."
The Struggle for Control of Soviet Music from 1932 To 1948 : socialist realism vs. Western formalism
"During the sixteen critical years of tumultuous artistic upheaval from 1932-1948, the Soviet Union’s cultural authorities strove diligently to establish and refine a functional administrative infrastructure with which to direct and control Soviet Music. Yet in reality, this music policy system did not function as it had been intended to, which was to ensure the creation of Soviet operas acceptable to the Party. Because the agencies controlling the operas could not define which style best represented Socialist Realism, the music policy failed to establish adequate centralized control of Soviet music. Therefore, musical discussions deteriorated into ritualistic forums for revealing heretical composers, making scapegoats of them, and requiring them to perform self-criticism, yet providing little practical guidance on how to reach the artistic goals of Socialist Realism."
"Over the past four decades, Richard Taruskin's publications have redefined the field of Russian-music study. This volume gathers thirty-six essays on composers ranging from Bortnyansky in the eighteenth century to Tarnopolsky in the twenty-first, as well as all of the famous names in between. Some of these pieces, like the ones on Chaikovsky's alleged suicide and on the interpretation of Shostakovich's legacy, have won fame in their own right as decisive contributions to some of the most significant debates in contemporary musicology. An extensive introduction lays out the main issues and a justification of Taruskin's approach, seen both in the light of his intellectual development and in that of the changing intellectual environment, which has been particularly marked by the end of the cold war in Europe."
Russian Music and Nationalism : from Glinka to Stalin
"Challenging what is widely regarded as the distinguishing feature of Russian music--its ineffable "Russianness"--Marina Frolova-Walker examines the history of Russian music from the premiere of Glinka's opera A Life for the Tsar in 1836 to the death of Stalin in 1953, the years in which musical nationalism was encouraged and endorsed by the Russian state and its Soviet successor. The author identifies and discusses two central myths that dominated Russian culture during this period--that art revealed the Russian soul, and that this nationalist artistic tradition was founded by Glinka and Pushkin. The author also offers a critical account of how the imperatives of nationalist thought affected individual composers. In this way Frolova-Walker provides a new perspective on the brilliant creativity, innovation, and eventual stagnation within the tradition of Russian nationalist music."
Shostakovich and Stalin : the extraordinary relationship beetween the great composer and the brutal dictator
"'Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.' So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov, who cowrote Shostakovich's controversial 1979 memoir, Testimony, describes how this lethal uncertainty affected the composer's life and work. Volkov, an authority on Soviet Russian culture, shows us the "holy fool" in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich's contemporaries - Mandelstam, Bulgakov, and Pasternak among them - fell victim to Stalin's manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality. This is a revelatory account of the relationship between one of the twentieth century's greatest composers and one of its most infamous tyrants."