- Title Pages
- A Note on Transliteration and the Translations
- Figures and Tables
- Acknowledgements
- 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 - Index
Is there a ‘Russia Abroad’ in Music?
Is there a ‘Russia Abroad’ in Music?
- Chapter:
- (p.307) Chapter 14 Is there a ‘Russia Abroad’ in Music?
- Source:
- Russian Music since 1917
- Author(s):
Richard Taruskin
- Publisher:
- British Academy
Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian composers living abroad as émigrés—and asserts that the latter, not the former, are the ones producing the true Russian music of the day—this paper considers (in the light of Marc Raeff’s Russia Abroad and its treatment of émigré culture) what it takes to maintain a cultural community in diaspora, and whether expatriated Russian musicians have ever constituted such a community.
Keywords: Arthur Lourié, Russian musical diaspora, Russian émigré musicians
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- Title Pages
- A Note on Transliteration and the Translations
- Figures and Tables
- Acknowledgements
- 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 - Index
