- Title Pages
- A Note on Transliteration and the Translations
- Figures and Tables
- Notes on Contributors
- Chapter 1 Introduction
- Chapter 2 Russian Musicological Scholarship of the Last Two Decades: Achievements and Lacunae
- Chapter 3 Soviet Music Studies Outside Russia: <i>Glasnost’</i> and After
- Chapter 4 The Adventures of Soviet Music in the West: Historical Highlights
- Chapter 5 Soviet Music in Post-Soviet Musicology: The First Twenty Years and Beyond
- Chapter 6 The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity
- Chapter 7 From Enlightened to Sublime: Musical Life under Stalin, 1930–1948
- Chapter 8 The Stalinist Opera Project
- Chapter 9 Composers in the Gulag: A Preliminary Survey
- Chapter 10 ‘Foreign’ versus ‘Russian’ in Soviet and Post-Soviet Musicology and Music Education
- Chapter 11 Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies
- Chapter 12 Portrait of the Artist as a Young Man: The Shostakovich–Bogdanov-Berezovsky Correspondence
- Chapter 13 Shostakovich’s ‘Lenin Project’: The ‘Pre-Twelfth’ Symphony
- Chapter 14 Is there a ‘Russia Abroad’ in Music?
- Chapter 15 Defining Diaspora through Culture: Russian Émigré Composers in a Globalising World
- Chapter 16 Musical Uproar in Moscow (II)
- Chapter 17 The Idea of the 1920s in Russian Music Today
- Chapter 18 Paradigms of Contemporary Music in Twenty-First-Century Russia
- (p.1) Chapter 1 Introduction
- Russian Music since 1917
- British Academy
The Introduction outlines the rationale for the volume, and its pioneering status in attempting to represent a broad cross-spectrum of recent research by Russian and Western scholars working on Russian music since 1917 that illustrates how the field has transformed since glasnost’. It opens with a brief overview of the development of the research domain, indicating the principal changes in emphasis and approach, and the intellectual issues that have come to the fore. It proceeds to summarise the themes of the essays in the volume’s six parts, explaining their significance in relation to the wider domain of Russian cultural studies.
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