- 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
Soviet Music Studies Outside Russia: Glasnost’ and After
Soviet Music Studies Outside Russia: Glasnost’ and After
- Chapter:
- (p.51) Chapter 3 Soviet Music Studies Outside Russia: Glasnost’ and After
- Source:
- Russian Music since 1917
- Author(s):
Patrick Zuk
- Publisher:
- British Academy
This chapter offers an overview of the principal developments in scholarship on Soviet music over the last two decades, highlighting notable achievements and the opening up of important new areas of study, in addition to assessing the extent to which perspectives on the period have undergone considerable change. It concludes with a discussion of the sizeable lacunae in knowledge that remain, and attempts to suggest potentially fruitful areas for further enquiry.
Keywords: Russian music studies, Soviet music, censorship, post-Soviet culture
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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
