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Author: Neil Edmunds Publisher: Routledge ISBN: 113441563X Category : Art Languages : en Pages : 258
Book Description
This book investigates the place of music in Soviet society during the eras of Lenin and Stalin. It examines the different strategies adopted by composers and musicians in their attempts to carve out careers in a rapidly evolving society, discusses the role of music in Soviet society and people's lives, and shows how political ideology proved an inspiration as well as an inhibition. It explores how music and politics interacted in the lives of two of the twentieth century's greatest composers - Shostakovich and Prokofiev - and also in the lives of less well-known composers. In addition it considers the specialist composers of early Soviet musical propaganda, amateur music making, and musical life in the non-Russian republics. The book will appeal to specialists in Soviet music history, those with an interest in twentieth century music in general, and also to students of the history, culture and politics of the Soviet Union.
Author: Neil Edmunds Publisher: Routledge ISBN: 113441563X Category : Art Languages : en Pages : 258
Book Description
This book investigates the place of music in Soviet society during the eras of Lenin and Stalin. It examines the different strategies adopted by composers and musicians in their attempts to carve out careers in a rapidly evolving society, discusses the role of music in Soviet society and people's lives, and shows how political ideology proved an inspiration as well as an inhibition. It explores how music and politics interacted in the lives of two of the twentieth century's greatest composers - Shostakovich and Prokofiev - and also in the lives of less well-known composers. In addition it considers the specialist composers of early Soviet musical propaganda, amateur music making, and musical life in the non-Russian republics. The book will appeal to specialists in Soviet music history, those with an interest in twentieth century music in general, and also to students of the history, culture and politics of the Soviet Union.
Author: Pauline Fairclough Publisher: Yale University Press ISBN: 0300217196 Category : History Languages : en Pages : 297
Book Description
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.
Author: Marina Frolova-Walker Publisher: Yale University Press ISBN: 0300208847 Category : Music Languages : en Pages : 382
Book Description
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.
Author: Kiril Tomoff Publisher: Cornell University Press ISBN: 1501730029 Category : History Languages : en Pages : 336
Book Description
Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres. Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.
Author: Peter J Schmelz Publisher: Oxford University Press ISBN: 0199711941 Category : Music Languages : en Pages : 409
Book Description
Following Stalin's death in 1953, during the period now known as the Thaw, Nikita Khrushchev opened up greater freedoms in cultural and intellectual life. A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was this perhaps more true than in music. Students at Soviet conservatories were at last able to use various channels--many of questionable legality--to acquire and hear music that had previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. In the 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo Pärt, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music of predictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations. This "unofficial" music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance or opposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and supplements this first-hand testimony with careful archival research and detailed musical analyses. The first book to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of Russian culture and society.
Author: Amy Nelson Publisher: Penn State Press ISBN: 0271046198 Category : History Languages : en Pages : 350
Book Description
Mention twentieth-century Russian music, and the names of three &"giants&"&—Igor Stravinsky, Sergei Prokofiev, and Dmitrii Shostakovich&—immediately come to mind. Yet during the turbulent decade following the Bolshevik Revolution, Stravinsky and Prokofiev lived abroad and Shostakovich was just finishing his conservatory training. While the fame of these great musicians is widely recognized, little is known about the creative challenges and political struggles that engrossed musicians in Soviet Russia during the crucial years after 1917. Music for the Revolution examines musicians&’ responses to Soviet power and reveals the conditions under which a distinctively Soviet musical culture emerged in the early thirties. Given the dramatic repression of intellectual freedom and creativity in Stalinist Russia, the twenties often seem to be merely a prelude to Totalitarianism in artistic life. Yet this was the decade in which the creative intelligentsia defined its relationship with the Soviet regime and the aesthetic foundations for socialist realism were laid down. In their efforts to deal with the political challenges of the Revolution, musicians grappled with an array of issues affecting musical education, professional identity, and the administration of musical life, as well as the embrace of certain creative platforms and the rejection of others. Nelson shows how debates about these issues unfolded in the context of broader concerns about artistic modernism and elitism, as well as the more expansive goals and censorial authority of Soviet authorities. Music for the Revolution shows how the musical community helped shape the musical culture of Stalinism and extends the interpretive frameworks of Soviet culture presented in recent scholarship to an area of artistic creativity often overlooked by historians. It should be broadly important to those interested in Soviet history, the cultural roots of Stalinism, Russian and Soviet music, and the place of music and the arts in revolutionary change.
Author: Levon Hakobian Publisher: Routledge ISBN: 1317091868 Category : Music Languages : en Pages : 512
Book Description
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: 1917–1991 considers 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.
Author: Vladimir Brovkin Publisher: Routledge ISBN: 1134680570 Category : History Languages : en Pages : 282
Book Description
Following the Russian Revolution, the cultural and political landscape of Russia was strewn with contradictions. The dictatorship, censorship and repression of the Communist party existed alongside private enterprise, the black market and open debates on Socialism. In Russian Society and politics 1921-1929 Vladimir Brovkin offers a comprehensive cultural, political, economic and social history of developments in Russia in the 1920's. By examining the contrast between Bolshevik propaganda claims and social reality, the author explains how Communist representations were variously received and resisted by workers, peasants, students, women, teachers and party officials. He presents a picture of cultural diversity and rejection of Communist constraints through many means including unauthorised protest, religion, jazz music and poetry. In Russian Society and Politics 1921-1929 Vladimir Brovkin argues that these trends, if left unchecked, endangered the Communist Party's monopoly on political power. The Stalinist revolution can thus be seen as a pre-emptive strike against this independent and vibrant society as well as a product of Stalin's personality and communist ideology.
Author: Neil Edmunds
Author: Neil Edmunds
Author: Pauline Fairclough
Author: Marina Frolova-Walker
Author: Kiril Tomoff
Author: Peter J Schmelz
Author: Yvonne Pui-Sze.. Lai
Author: Amy Nelson
Author: Levon Hakobian
Author: Vladimir Brovkin
Author: Boris Schwarz