- 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: Glasnost’ 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
- Russian Music since 1917
- Patrick Zuk, Frolova-Walker Marina
- British Academy
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