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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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Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies

Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies

Chapter:
(p.244) Chapter 11 Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies
Source:
Russian Music since 1917
Author(s):

Daniil Zavlunov

Publisher:
British Academy
DOI:10.5871/bacad/9780197266151.003.0011

The advent of glasnost’ prompted a reassessment of many aspects of Russia’s musical past, especially in regard of key figures such as the composer Mikhail Glinka. The revisionism that swept Glinka scholarship in Russia itself thereafter promised much: new and better understanding of Glinka and his music, investigation of previously forbidden topics and reassessment of the sources. Although recent Russian studies have sought to re-contextualise and to reappraise the composer’s life and works in relation to the Western European musical tradition, problematically, this revisionist scholarship tends to fall victim to the clichés that it would seek to avoid: Glinka’s divergence from selected models is generally attributed not to his personal style, but to his Russianness, forcing us to perpetuate the myth of Glinka’s musical uniqueness vis-à-vis his nationality.

Keywords:   Mikhail Glinka, Soviet musicology, post-Soviet musicology, nationalism

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