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Books > Arts & Architecture > Music > Theory of music & musicology
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Music and Soviet Power, 1917-1932 (Hardcover)
Loot Price: R1,116
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Music and Soviet Power, 1917-1932 (Hardcover)
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The book offers unprecedented access to primary sources that have
been unavailable in English, or which lay unknown on archival
shelves. Music and Soviet Power offers cultural history told
through documents - both colourfuland representative - with an
extensive commentary and annotation throughout. The October
Revolution of 1917 tore the fabric of Russian musical life:
institutions collapsed, and leading composers emigrated or fell
into silence. But in 1932, at the outset of the "socialist realist"
period, a new Stalinist music culture was emerging. Between these
two dates lies a turbulent period of change which this book charts
year by year. It sheds light on the vicious power struggles and
ideological wars, the birth of new aesthetic credos, and the
gradual increase of Party and state control over music, in the
opera houses, the concert halls, the workers' clubs, and on the
streets. The book not only provides a detailed and nuanced
depiction of the early Soviet musical landscape, but brings it to
life by giving voice to the leading actors and commentators of the
day. The vibrant public discourse on music is presented through a
selection of press articles, reviews and manifestos, all
suppliedwith ample commentary. These myriad sources offer a new
context for our understanding of Shostakovich, Prokofiev and
Myaskovsky, while also showing how Western music was received in
the USSR. This, however, is only half the story.The other half
emerges from the private dimension of this cultural upheaval,
traced through the letters, diaries and memoirs left by composers
and other major players in the music world. These materials address
the beliefs, motivations and actions of the Russian musical
intelligentsia during the painful period of their adjustment to the
changing demands of the new state. While following the twists and
turns of official policies on music, the authors also offer their
own explanations for the outcomes. The book offers unprecedented
access to primary sources that have been unavailable in English, or
which lay unknown on archival shelves. Music and Soviet Power
offers cultural history told through documents - both colourful and
representative - with an extensive commentary and annotation
throughout. MARINA FROLOVA-WALKER is Reader in Music History at the
University of Cambridge and Fellow of Clare College, Cambridge;
JONATHAN WALKER, who has a PhD in Musicology, is a freelance
writer, teacher and pianist.
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