图书简介
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.
Introduction; Part I: Russian Music History and Historiography Today; Marina Rakhmanova: Russian Musicological Scholarship of the Last Two Decades: Achievements and Lacunae; Patrick Zuk: Soviet Music Studies outside Russia: glasnost and after; Levon Hakobian: The Adventures of Soviet Music in the West: Historical Highlights; Marina Frolova-Walker: Soviet Music in Post-Soviet Musicology: First Twenty Years and Beyond; Part II: Reappraising the Soviet Past; Marina Raku: The Phenomenon of ’Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity; Pauline Fairclough: From Enlightened to Sublime: Musical Life under Stalin, 1930-1948; Yekaterina Vlasova: The Stalinist Opera Project; Inna Klause: Composers in the GULAG: A Preliminary Survey; Part III: Soviet and post-Soviet musicology; Ol’ga Manulkina: ’Foreign’ Versus ’Russian’ in Soviet and Post-Soviet Musicology and Music Education; Daniil Zavlunov: Glinka in Soviet and Post-Soviet Historiography: Myths, Realities, and Ideologies; Part IV: The Newest Shostakovich; Liudmila Kovnatskaya: Portrait of the Artist as a Young Man: The Shostakovich-Bogdanov-Berezovsky Correspondence; Ol’ga Digonskaya: Shostakovich’s ’Lenin’ Project: The ’Pre-Twelfth’ Symphony - Reality or Myth?; Part V: Russian Music Abroad; Richard Taruskin: Is There a Russia Abroad in Music?; Elena Dubinets: Defining Diaspora through Culture: Russian Emigre Composers in a Globalising World; Part VI: 1991 and after; Laurel Fay: Musical Uproar in Moscow (II); William Quillen: The Idea of the 1920s in Russian Music Today; Lidia Ader: Paradigms of Contemporary Music in Twenty-First-Century Russia
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