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These essays bring into clearer focus the transformation in the study of Russian music that has occurred since
glasnost. Concentrating on Russian music since 1917, the volume shows how censorship in the USSR hindered developments in scholarship, and explains some difficulties experienced by musicians and scholars in the post-soviet era.
List of contents
- Introduction
- Part I: Russian Music History and Historiography Today
- Russian Musicological Scholarship of the Last Two Decades: Achievements and Lacunae
- Soviet Music Studies outside Russia: glasnost and after
- The Adventures of Soviet Music in the West: Historical Highlights
- Soviet Music in Post-Soviet Musicology: First Twenty Years and Beyond
- Part II: Reappraising the Soviet Past
- The Phenomenon of 'Translation' in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity
- From Enlightened to Sublime: Musical Life under Stalin, 1930-1948
- The Stalinist Opera Project
- Composers in the GULAG: A Preliminary Survey
- Part III: Soviet and post-Soviet musicology
- 'Foreign' Versus 'Russian' in Soviet and Post-Soviet Musicology and Music Education
- Glinka in Soviet and Post-Soviet Historiography: Myths, Realities, and Ideologies
- Part IV: The Newest Shostakovich
- Portrait of the Artist as a Young Man: The Shostakovich-Bogdanov-Berezovsky Correspondence
- Shostakovich's 'Lenin' Project: The 'Pre-Twelfth' Symphony - Reality or Myth?
- Part V: Russian Music Abroad
- Is There a "Russia Abroad" in Music?
- Defining Diaspora through Culture: Russian Émigré Composers in a Globalising World
- Part VI: 1991 and after
- Musical Uproar in Moscow (II)
- The Idea of the 1920s in Russian Music Today
- Paradigms of Contemporary Music in Twenty-First-Century Russia
About the author
Patrick Zuk is Senior Lecturer in Music at the University of Durham. He is a specialist in twentieth-century Russian music and cultural history.
Marina Frolova-Walker FBA is Professor of Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She is the author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007), co-author (with Jonathan Walker) of Music and Soviet Power, 191732 (Boydell, 2012), and author of Stalin's Music Prize: Soviet Culture and Politics (Yale, 2016).
Summary
These essays bring into clearer focus the transformation in the study of Russian music that has occurred since glasnost. Concentrating on Russian music since 1917, the volume shows how censorship in the USSR hindered developments in scholarship, and explains some difficulties experienced by musicians and scholars in the post-soviet era.
Additional text
Zuk and Frolova-Walker have provided a valuable resource for scholars and educators. Their diverse selection of essays has something for everyone, specialist and non-specialist alike. While tone, approach, and quality vary, this volume will surely have staying power as a wide-ranging collection of contemporary work in Russian music studies and a portrait of this important transitional moment in the field.
