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Singing Soviet Stagnation: Vocal Cycles from the USSR, 1964–1985
explores the ways in which the aftershock of an apparent crisis in
Soviet identity after the death of Stalin in 1953 can be detected
in selected musical- literary works of what has become known as the
‘Stagnation’ era (1964–1985). Richard Louis Gillies traces
the cultural impact of this shift through the intersection between
music, poetry, and identity, presenting close readings of three
substantial musical-literary works by three of the period’s most
prominent composers of songs and vocal cycles: • Seven Poems of
Aleksandr Blok, Op. 127 (1966– 1967) by Dmitri Shostakovich
(1906–1975) • Russia Cast Adrift (1977) by Georgy Sviridov
(1915–1998) • Stupeni (1981–1982; 1997) by Valentin
Silvestrov (b. 1937). The study elaborates an interdisciplinary
approach to the analysis of musicalliterary artworks that does not
rely on existing models of musical analysis or on established modes
of literary criticism, thereby avoiding privileging one discipline
over the other. It will be of particular signifi cance for
scholars, students, and performers with an interest in Russian and
Soviet music, the intersection between music and poetry, and the
history of Russian and East European culture, politics, and
identity during the twentieth century.
Black Sea Sketches is a portrait of some of the diverse musical
cultures surrounding the Black Sea and in its hinterlands. Its six
separate chapters follow a very broad trajectory from close-ups of
traditional music (chapters 1-4) towards wide-angle studies of art
music (chapters 5-6), and each of them opens windows to big,
border-crossing themes about music and place. A wide variety of
repertoires is discussed: ancient layers of polyphonic music,
bardic songs, traditional music from the coasts and mountains, the
sacred music of Islam and Orthodox Christianity, the art music of
Europe and West Asia, and present-day popular music 'scenes'. The
usual practice is for each chapter to begin with a Black Sea
coastal location before reaching out into the hinterlands. The
result is a collection of six relatively discrete essays on
different locations and topics, but with underlying thematic
continuities, and offering a wide-ranging commentary on cultural
difference. Firmly grounded in ethnographic and documentary
research, this is an important study for scholars and researchers
of Ethnomusicology, as also of Caucasian and Russian/East European
Studies.
Popular Polish Electronic Music, 1970-2020 offers a cultural
history of popular Polish electronic music, from its beginning in
the late 1960s/early 1970s up to the present day, in the context of
Polish economic, social and political history, and the history of
popular music in this country. From the perspective of production,
scene, industry and consumption, the volume considers the issue of
access to electronic instruments in the 1970s and 1980s, and the
variety of inspirations, such as progressive rock and folk music,
that have contributed to the development of Polish electronic music
as it is known today. The widespread contribution of Polish
electronic music to film is also considered. This is a valuable
resource for scholars and researchers of electronic music, popular
music and (Eastern) European music and culture.
French and Soviet Musical Diplomacies in Post-War Austria,
1945-1955 investigates how promoting 'national' music and musicians
was used as an important asset by France and the USSR in post-Nazi
Austria, covering music's role in international relations at
various levels, within changing power frameworks. Bridging
international relations, musical sociology, media studies, and Cold
War history, four incisive chapters examine the crossroads of
Soviet, French, and Austrian cultural politics and
discourse-building, presented in two parts - institutions of
musical diplomacy: Soviet and French cultural diplomats in
comparison; sounds of music coming to Austria: Soviet and French
musicians on tour. Using a communication- and media-oriented
approach, this study casts new light, firstly, on the
interpretative power of 'receiving' publics and, secondly, on the
role of cultural transmitters at different levels. This is a
valuable study for those specialising in Russian and East European
music and music and politics. It will also appeal to cultural
historians and all those interested in the intersections between
music, international relations, and Cold War history.
Singing Soviet Stagnation: Vocal Cycles from the USSR, 1964-1985
explores the ways in which the aftershock of an apparent crisis in
Soviet identity after the death of Stalin in 1953 can be detected
in selected musical- literary works of what has become known as the
'Stagnation' era (1964-1985). Richard Louis Gillies traces the
cultural impact of this shift through the intersection between
music, poetry, and identity, presenting close readings of three
substantial musical-literary works by three of the period's most
prominent composers of songs and vocal cycles: * Seven Poems of
Aleksandr Blok, Op. 127 (1966- 1967) by Dmitri Shostakovich
(1906-1975) * Russia Cast Adrift (1977) by Georgy Sviridov
(1915-1998) * Stupeni (1981-1982; 1997) by Valentin Silvestrov (b.
1937). The study elaborates an interdisciplinary approach to the
analysis of musicalliterary artworks that does not rely on existing
models of musical analysis or on established modes of literary
criticism, thereby avoiding privileging one discipline over the
other. It will be of particular signifi cance for scholars,
students, and performers with an interest in Russian and Soviet
music, the intersection between music and poetry, and the history
of Russian and East European culture, politics, and identity during
the twentieth century.
During the last thirty years Eastern Europe has been a place of
radical political, economic, and social transformation, and these
changes have affected the cultural industries of its countries.
This volume consists of twelve chapters by leading international
researchers. Stories are documented of various organisations that
once dominated the 'communist music industries' - such as
state-owned record companies, music festivals, and collecting
societies. The strategies employed by artists and industries to
join international music markets after the fall of communism are
explained and evaluated. Political and economic transformations
that coincided with the advent of digitalisation and the Internet
intensified the changes. All these issues posed challenges both to
record labels and artists who, after adjusting to the rules of the
free-market economy, were faced with the falling record sales of
records caused by the advent of new communication technologies.
This book examines how these processes have all affected the music
scene, industries, and markets in various Eastern European
countries.
The Routledge Handbook to the Music of Alfred Schnittke is a
comprehensive study of the work of one of the most important
Russian composers of the late 20th century. Each piece is discussed
in detail, with particular attention to the composer's
groundbreaking polystylism, as well as his unique approach to
musical symbolism and his deep engagement with Christian themes.
This is the first publication to look at Schnittke's output in its
entirety, and for most works it represents either the first ever
published analysis or the first in a language other than Russian.
The volume presents new research from the Ivashkin-Schnittke
Archive at Goldsmiths, University of London and the collection of
Schnittke's compositional sketches at the Julliard Library in New
York. It also draws on the substantial research on Schnittke's
music published in the Russian language. Including a work list and
bibliography of primary and secondary sources, this is an essential
reference for all those interested in Russian music, 20th-century
music and performance studies.
During the last thirty years Eastern Europe has been a place of
radical political, economic, and social transformation, and these
changes have affected the cultural industries of its countries.
This volume consists of twelve chapters by leading international
researchers. Stories are documented of various organisations that
once dominated the 'communist music industries' - such as
state-owned record companies, music festivals, and collecting
societies. The strategies employed by artists and industries to
join international music markets after the fall of communism are
explained and evaluated. Political and economic transformations
that coincided with the advent of digitalisation and the Internet
intensified the changes. All these issues posed challenges both to
record labels and artists who, after adjusting to the rules of the
free-market economy, were faced with the falling record sales of
records caused by the advent of new communication technologies.
This book examines how these processes have all affected the music
scene, industries, and markets in various Eastern European
countries.
Popular Polish Electronic Music, 1970-2020 offers a cultural
history of popular Polish electronic music, from its beginning in
the late 1960s/early 1970s up to the present day, in the context of
Polish economic, social and political history, and the history of
popular music in this country. From the perspective of production,
scene, industry and consumption, the volume considers the issue of
access to electronic instruments in the 1970s and 1980s, and the
variety of inspirations, such as progressive rock and folk music,
that have contributed to the development of Polish electronic music
as it is known today. The widespread contribution of Polish
electronic music to film is also considered. This is a valuable
resource for scholars and researchers of electronic music, popular
music and (Eastern) European music and culture.
French and Soviet Musical Diplomacies in Post-War Austria,
1945-1955 investigates how promoting 'national' music and musicians
was used as an important asset by France and the USSR in post-Nazi
Austria, covering music's role in international relations at
various levels, within changing power frameworks. Bridging
international relations, musical sociology, media studies, and Cold
War history, four incisive chapters examine the crossroads of
Soviet, French, and Austrian cultural politics and
discourse-building, presented in two parts - institutions of
musical diplomacy: Soviet and French cultural diplomats in
comparison; sounds of music coming to Austria: Soviet and French
musicians on tour. Using a communication- and media-oriented
approach, this study casts new light, firstly, on the
interpretative power of 'receiving' publics and, secondly, on the
role of cultural transmitters at different levels. This is a
valuable study for those specialising in Russian and East European
music and music and politics. It will also appeal to cultural
historians and all those interested in the intersections between
music, international relations, and Cold War history.
When considering the role music played in the major totalitarian
regimes of the century it is music's usefulness as propaganda that
leaps first to mind. But as a number of the chapters in this volume
demonstrate, there is a complex relationship both between art music
and politicised mass culture, and between entertainment and
propaganda. Nationality, self/other, power and ideology are the
dominant themes of this book, whilst key topics include: music in
totalitarian regimes; music as propaganda; music and national
identity; emigre communities and composers; music's role in shaping
identities of 'self' and 'other' and music as both resistance to
and instrument of oppression. Taking the contributions together it
becomes clear that shared experiences such as war, dictatorship,
colonialism, exile and emigration produced different, yet clearly
inter-related musical consequences.
Black Sea Sketches is a portrait of some of the diverse musical
cultures surrounding the Black Sea and in its hinterlands. Its six
separate chapters follow a very broad trajectory from close-ups of
traditional music (chapters 1-4) towards wide-angle studies of art
music (chapters 5-6), and each of them opens windows to big,
border-crossing themes about music and place. A wide variety of
repertoires is discussed: ancient layers of polyphonic music,
bardic songs, traditional music from the coasts and mountains, the
sacred music of Islam and Orthodox Christianity, the art music of
Europe and West Asia, and present-day popular music 'scenes'. The
usual practice is for each chapter to begin with a Black Sea
coastal location before reaching out into the hinterlands. The
result is a collection of six relatively discrete essays on
different locations and topics, but with underlying thematic
continuities, and offering a wide-ranging commentary on cultural
difference. Firmly grounded in ethnographic and documentary
research, this is an important study for scholars and researchers
of Ethnomusicology, as also of Caucasian and Russian/East European
Studies.
When considering the role music played in the major totalitarian
regimes of the century it is music's usefulness as propaganda that
leaps first to mind. But as a number of the chapters in this volume
demonstrate, there is a complex relationship both between art music
and politicised mass culture, and between entertainment and
propaganda. Nationality, self/other, power and ideology are the
dominant themes of this book, whilst key topics include: music in
totalitarian regimes; music as propaganda; music and national
identity; emigre communities and composers; music's role in shaping
identities of 'self' and 'other' and music as both resistance to
and instrument of oppression. Taking the contributions together it
becomes clear that shared experiences such as war, dictatorship,
colonialism, exile and emigration produced different, yet clearly
inter-related musical consequences.
Composed in 1935-36 and intended to be his artistic 'credo',
Shostakovich's Fourth Symphony was not performed publicly until
1961. Here, Dr Pauline Fairclough tackles head-on one of the most
significant and least understood of Shostakovich's major works. She
argues that the Fourth Symphony was radically different from its
Soviet contemporaries in terms of its structure, dramaturgy, tone
and even language, and therefore challenged the norms of Soviet
symphonism at a crucial stage of its development. With the backing
of prominent musicologists such as Ivan Sollertinsky, the composer
could realistically have expected the premiere to have taken place,
and may even have intended the symphony to be a model for a new
kind of 'democratic' Soviet symphonism. Fairclough meticulously
examines the score to inform a discussion of tonal and thematic
processes, allusion, paraphrase and reference to musical types, or
intonations. Such analysis is set deeply in the context of Soviet
musical culture during the period 1932-36, involving Shostakovich's
contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. A new
method of analysis is also advanced here, where a range of Soviet
and Western analytical methods are informed by the theoretical work
of Shostakovich's contemporaries Viktor Shklovsky, Boris
Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, together with
Theodor Adorno's late study of Mahler. In this way, the book will
significantly increase an understanding of the symphony and its
context.
Composed in 1935-36 and intended to be his artistic 'credo',
Shostakovich's Fourth Symphony was not performed publicly until
1961. Here, Dr Pauline Fairclough tackles head-on one of the most
significant and least understood of Shostakovich's major works. She
argues that the Fourth Symphony was radically different from its
Soviet contemporaries in terms of its structure, dramaturgy, tone
and even language, and therefore challenged the norms of Soviet
symphonism at a crucial stage of its development. With the backing
of prominent musicologists such as Ivan Sollertinsky, the composer
could realistically have expected the premiere to have taken place,
and may even have intended the symphony to be a model for a new
kind of 'democratic' Soviet symphonism. Fairclough meticulously
examines the score to inform a discussion of tonal and thematic
processes, allusion, paraphrase and reference to musical types, or
intonations. Such analysis is set deeply in the context of Soviet
musical culture during the period 1932-36, involving Shostakovich's
contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. A new
method of analysis is also advanced here, where a range of Soviet
and Western analytical methods are informed by the theoretical work
of Shostakovich's contemporaries Viktor Shklovsky, Boris
Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, together with
Theodor Adorno's late study of Mahler. In this way, the book will
significantly increase an understanding of the symphony and its
context.
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.
Dmitry Shostakovich was one of the most successful composers of the
twentieth century - a musician who adapted as no other to the
unique pressures of his age. By turns vilified and feted by Stalin
during the Great Purge, Shostakovich twice came close to the
whirlwind of political repression and he remained under political
surveillance all his life, despite the many privileges and awards
heaped upon him in old age. Yet Shostakovich had a remarkable
ability to work with, rather than against, prevailing ideological
demands, and it was this quality that ensured both his survival and
his posterity. Pauline Fairclough's absorbing new biography offers
a vivid portrait that goes well beyond the habitual cliches of
repression and suffering. Featuring quotations from previously
unpublished letters as well as rarely-seen photographs, Fairclough
provides a fresh insight into the music and life of a composer
whose legacy, above all, was to have written some of the greatest
and most cherished music of the last century.
When Shostakovich Studies was published in 1995, archival research
in the ex-Soviet Union was only just beginning. Since that time,
research carried out in the Shostakovich Family Archive, founded by
the composer's widow Irina Antonovna Shostakovich in 1975, and the
Glinka Museum of Musical Culture has significantly raised the level
of international Shostakovich studies. At the same time, scholarly
understanding of Soviet society and culture has developed
significantly since 1991, and this has also led to a more nuanced
appreciation of Shostakovich's public and professional identity.
Shostakovich Studies 2 reflects these changes, focusing on
documentary research, manuscript sources, film studies and musical
analysis informed by literary criticism and performance.
Contributions in this volume include chapters on Orango,
Shostakovich's diary, behind-the-scenes events following Pravda's
criticisms of Shostakovich in 1936 and a new memoir of Shostakovich
by the Soviet poet Evgeniy Dolmatovsky, as well as analytical
studies from a range of perspectives.
When Shostakovich Studies was published in 1995, archival research
in the ex-Soviet Union was only just beginning. Since that time,
research carried out in the Shostakovich Family Archive, founded by
the composer's widow Irina Antonovna Shostakovich in 1975, and the
Glinka Museum of Musical Culture has significantly raised the level
of international Shostakovich studies. At the same time, scholarly
understanding of Soviet society and culture has developed
significantly since 1991, and this has also led to a more nuanced
appreciation of Shostakovich's public and professional identity.
Shostakovich Studies 2 reflects these changes, focusing on
documentary research, manuscript sources, film studies and musical
analysis informed by literary criticism and performance.
Contributions in this volume include chapters on Orango,
Shostakovich's diary, behind-the-scenes events following Pravda's
criticisms of Shostakovich in 1936 and a new memoir of Shostakovich
by the Soviet poet Evgeniy Dolmatovsky, as well as analytical
studies from a range of perspectives.
As the Soviet Union's foremost composer, Shostakovich's status in
the West has always been problematic. Regarded by some as a
collaborator, and by others as a symbol of moral resistance, both
he and his music met with approval and condemnation in equal
measure. The demise of the Communist state has, if anything, been
accompanied by a bolstering of his reputation, but critical
engagement with his multi-faceted achievements has been patchy.
This Companion offers a new starting point and a guide for readers
who seek a fuller understanding of Shostakovich's place in the
history of music. Bringing together an international team of
scholars, the book brings up-to-date research to bear on the full
range of Shostakovich's musical output, addressing scholars,
students and all those interested in this complex, iconic figure.
As the Soviet Union's foremost composer, Shostakovich's status in
the West has always been problematic. Regarded by some as a
collaborator, and by others as a symbol of moral resistance, both
he and his music met with approval and condemnation in equal
measure. The demise of the Communist state has, if anything, been
accompanied by a bolstering of his reputation, but critical
engagement with his multi-faceted achievements has been patchy.
This Companion offers a new starting point and a guide for readers
who seek a fuller understanding of Shostakovich's place in the
history of music. Bringing together an international team of
scholars, the book brings up-to-date research to bear on the full
range of Shostakovich's musical output, addressing scholars,
students and all those interested in this complex, iconic figure.
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