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Russian Music since 1917Reappraisal and Rediscovery$
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Patrick Zuk and Marina Frolova-Walker

Print publication date: 2017

Print ISBN-13: 9780197266151

Published to British Academy Scholarship Online: January 2018

DOI: 10.5871/bacad/9780197266151.001.0001

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‘Foreign’ versus ‘Russian’ in Soviet and Post-Soviet Musicology and Music Education

‘Foreign’ versus ‘Russian’ in Soviet and Post-Soviet Musicology and Music Education

Chapter:
(p.221) Chapter 10 ‘Foreign’ versus ‘Russian’ in Soviet and Post-Soviet Musicology and Music Education
Source:
Russian Music since 1917
Author(s):

Olga Manulkina

Publisher:
British Academy
DOI:10.5871/bacad/9780197266151.003.0010

The standard term used in Russian to refer to ‘foreign music’, zarubezhnaya muzïka, has an interesting history, as zarubezhnaya literally means ‘music from outside the border’—the border in question being that of the USSR. The term was coined in 1948 as one of the measures taken in the ideological campaign to purify Soviet music of ‘cosmopolitan’ influences. This chapter sets out to explore the concept of zarubezhnaya muzïka and trace how this canon was formed, to examine the strategies that it was necessary to adopt to carry out research on European and American music, and to assess the implications for the lives and careers of Soviet musicologists.

Keywords:   Soviet musicology, censorship, Soviet nationalism, cosmopolitanism, musical life of late Stalinist era

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