Contents
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‘Other’ Russians ‘Other’ Russians
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The Era of Idiolects The Era of Idiolects
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Musical Interlude I: Nikolai Korndorf’s String Quartet Musical Interlude I: Nikolai Korndorf’s String Quartet
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Better Bang for the Buck: the Commodification of Ethnicity Better Bang for the Buck: the Commodification of Ethnicity
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Musical Interlude II: Dmitri Smirnov’s Triple Concerto Musical Interlude II: Dmitri Smirnov’s Triple Concerto
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Diaspora: Homesick or Sick of Home? Diaspora: Homesick or Sick of Home?
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Musical Interlude III: Valery Arzoumanov’s Quintet in Memory of My Fatherland Musical Interlude III: Valery Arzoumanov’s Quintet in Memory of My Fatherland
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‘Kolbasa Emigration’: a New Cultural Mythology? ‘Kolbasa Emigration’: a New Cultural Mythology?
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Musical Interlude IV: Alexander Raskatov’s Opera A Dog’s Heart Musical Interlude IV: Alexander Raskatov’s Opera A Dog’s Heart
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Homecoming: Invoking ‘Other Russianness’ Homecoming: Invoking ‘Other Russianness’
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Musical Interlude V: the Songs of Ivan Sokolov Musical Interlude V: the Songs of Ivan Sokolov
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Escaping Again? Escaping Again?
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15 Defining Diaspora through Culture: Russian Émigré Composers in a Globalising World
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Published:September 2017
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Abstract
This article explores how the Russian émigré composers, no longer required to nurture the nation-constituting loyalties, forge, negotiate and sustain multi-stranded individual relationships both with the transnational powers and with their native country, reclaiming cultural rather than territorial attachments which grow from psychological constructs rather than social conditions. It is revealing to observe that most of them continue to remain culturally tied to their country of origin and to long for its aesthetic values, while at the same time building civic attachments and hybrid identities in the globalised world. Based on empirical studies, this chapter considers how the reflections of post-Soviet identity shape these composers’ creative output and how the composers form relationships with their old and new neighbours.
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