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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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The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity

The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity

Chapter:
(p.127) Chapter 6 The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity
Source:
Russian Music since 1917
Author(s):

Marina Raku

Publisher:
British Academy
DOI:10.5871/bacad/9780197266151.003.0006

This chapter examines the problematic attempts to evolve a new Soviet musical culture on the basis of extant musical traditions, and the debates concerning how musical material of earlier periods could be transformed in a way that would render it suitable for use by Soviet composers. Musical ‘speech’ was regarded as an analogue of verbal communication and subjected to philological ‘decoding’ in quest for a new kind of musical rhetoric. The chapter concludes by examining Soviet debates about the possibility of ‘translating’ between musical words into words, and what this reveals about the constructs of Soviet identity that were in the process of formation at the period.

Keywords:   Soviet musical life of the 1920s, proletarian musical culture, Boris Asaf’yev, French Revolution

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