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Russian Music since 1917Reappraisal and Rediscovery$

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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(p.x) Notes on Contributors

(p.x) Notes on Contributors

Source:
Russian Music since 1917
Author(s):
Patrick Zuk, Frolova-Walker Marina
Publisher:
British Academy

  • Lidia Ader is a musicologist and art historian. She is a Senior Researcher at the Nikolay Rimsky-Korsakov Apartment-Museum and artistic director of the Centre for New Technology in the Arts Art-parkING. Her research interests include interdisciplinary arts studies, microtonal music, Soviet music, avant-garde music and contemporary music. She has edited several volumes of essays on Russian music and contributed numerous articles to English, Polish, Russian and German specialist journals.

  • Olga Digonskaya is a Senior Researcher at the Glinka Museum of Musical Culture and Chief Archivist at the Shostakovich Archive in Moscow. A former member of the editorial broad of the New Shostakovich Edition, she has published over fifty articles in Russian and foreign journals, and co-edited the volumes Dmitriy Shostakovich: Notograficheskiy spravochnik, vol. 1 (with Galina Kopïtova, 2016) and Letopis’ zhizni i tvorchestva Shostakovicha, vol. 1 (2016). She has identified numerous unknown works by Shostakovich, including the opera Orango.

  • Elena Dubinets is Vice President of Artistic Planning for the Seattle Symphony and Affiliate Associate Professor at the University of Washington. She has published four books and numerous articles, primarily on contemporary Russian and American music. She was a NEH fellow at America’s Russian-Speaking Immigrants & Refugees Summer Institute at Columbia University in New York City in June 2013. Dubinets received MA and PhD degrees from the Moscow State Tchaikovsky Conservatoire in Russia and has lived in the United States since 1996.

  • Pauline Fairclough is Reader in Music at the University of Bristol and a historian of Soviet musical culture. Her books include The Cambridge Companion to Shostakovich (with David Fanning, 2008), Shostakovich Studies 2 (2010) and Twentieth-Century Music and Politics (2013). Her most recent book, Classics for the Masses: Shaping Soviet Musical Identity Under Lenin and Stalin (2016) is the first study of repertoire politics in the early Soviet era. She is currently working on a century-wide exploration of musical relations between Britain and Russia, encompassing both pre- and post-Soviet periods.

  • Laurel E. Fay received her PhD in musicology from Cornell University and is a specialist in Russian and Soviet music. Her articles have appeared in the (p.xi) New York Times, Musical America and Opera News as well as in many scholarly publications, and she was a contributing editor of The New Grove Dictionary of Opera. She is the author of the award-winning Shostakovich: A Life (2000) and the editor of Shostakovich and His World (2004).

  • Marina Frolova-Walker FBA is Professor of Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She is the author of Russian Music and Nationalism from Glinka to Stalin (2007), Stalin’s Music Prize: Soviet Culture and Politics (2016), and co-author (with Jonathan Walker) of Music and Soviet Power, 1917–32 (2012). In 2015 she was awarded the Edward J. Dent Medal by the Royal Musical Association for her ‘outstanding contribution to musicology’.

  • Levon Hakobian is Head of the Department of Music Theory at the Russian State Institute for Art Studies, Moscow, editor of the electronic journal Art of Music: Theory and History, and a member of the editorial board of the New Shostakovich Edition. His research interests include medieval Armenian sacred chant, contemporary musicological theory and practice, and Soviet music (especially Shostakovich). His extensive publications have appeared in Russian, Armenian, English, Polish, German and French. A revised edition of his Music of the Soviet Era, 1917-1991 was published in 2016.

  • Inna Klause studied music education (specialising in bayan performance), musicology and philosophy at the Hanover University of Music and Drama. After completing an MA thesis on the Russian composer Vladislav Zolotaryov, she undertook a doctoral project on music and musicians in Soviet labour camps between the 1920s and 1950s, for which she was awarded the Georg R. Schroubek Dissertationspreis of Munich University. She currently works as a playwright and librarian for the Göttingen Symphony Orchestra.

  • Liudmila Kovnatskaya is a Professor at the St Petersburg Conservatoire, a Senior Researcher at the Russian Institute for the History of the Arts, a member of the Composers’ Union of the Russian Federation, and an Honoured Artist of the Russian Federation. A noted specialist on British music, her extensive output also includes books, edited volumes, and articles on Shostakovich and Soviet musical culture of the 1920s. She has been a member of the editorial boards of Tempo and Opera Musicologica, and acted as a consultant for the New Grove Dictionary of Music and Musicians.

  • Olga Manulkina is an Associate Professor at the St Petersburg State University and editor-in-chief of the journal Opera Musicologica. A Fulbright alumna, she is the author of the book Ot Ayvza do Adamsa: Amerikanskaya muzïka (p.xii) XX veka (2010), numerous articles on Russian and American music, and a number of translations, including Shostakovich: A Life Remembered by Elisabeth Wilson (2006). She is currently co-editing the first complete Russian translation of Stravinsky’s dialogues with Robert Craft.

  • William Quillen is a musicologist and arts administrator based in the San Francisco Bay Area. He studied at the University of California, Berkeley, where he completed his PhD, and at the Moscow Conservatory as a Fulbright grantee. He subsequently taught at Berkeley and the University of Cambridge (as a Research Fellow of Clare College). Presently an administrator at the San Francisco Conservatory of Music, he has previously worked on the staffs of Berkeley Symphony, the San Francisco Symphony, and the San Francisco Contemporary Music Players. As a musicologist, his specialties include twentieth- and twenty-first-century music, Russian music, and the sociology of music.

  • Marina Rakhmanova is Researcher-in-Chief at the State Institute of Arts Studies and Secretary of the Research Division of the Glinka Museum of Musical Culture in Moscow. She is a leading international authority on Russian sacred music and has published widely on Russian music of the nineteenth and twentieth centuries. She contributed the chapter on music to the Institute’s new twenty-volume reference work Istoriya russkogo iskusstva and oversees the publication of the series Russkaya dukhovnaya muzïka v dokumentakh i materialakh.

  • Marina Raku is a Senior Researcher in the Department of Music History at the State Institute of Arts Studies in Moscow and a senior member of the editorial board of the New Shostakovich Edition. Her publications include the monographs Vagner. Pudevoditel’ (2007) and Muzïkal’naya klassika v mifotvorchestve sovetskoy epokhi (2014), and over 100 essays and articles contributed to periodicals and encyclopaedias in the Russian Federation, Germany, the United States, and other countries. She is also the editor of the online journal Iskusstvo muzïki: teoriya i istoriya.

  • Richard Taruskin is an American musicologist, music historian and critic. A leading authority on Russian music, his publications include the monographs Musorgsky: Eight Essays and an Epilogue (1993), Stravinsky and the Russian Traditions: A Biography of the Works through Mavra (1996), and several collections of essays, including Defining Russia Musically: Historical and Hermeneutical essays (1997) and On Russian Music (2009). He has also written widely on music performance and sixteenth- and twentieth-century music, and is the author of the six-volume Oxford History of Western Music (2005). (p.xiii)

  • Yekaterina Vlasova is a Professor in the Department of Russian Music History at the Moscow Conservatoire. A leading specialist on twentieth- century Russian music, her publications include the monograph 1948 god v sovetskoy muzïke (2010), the co-edited volumes Naslediye—russkaya muzïka, mirovaya kul’tura (2009) and Dvadtsatïy vek: muzïka voynï i mira (2016), and numerous articles and essays on Prokofiev, Shostakovich, Myaskovsky and other leading figures of the period.

  • Daniil Zavlunov is Assistant Professor of Music History at Stetson University, Florida, USA. His principal research area is nineteenth-century Russian opera, with a particular emphasis on Glinka. His scholarship also encompasses historiography of Russian music, history of Soviet music theory and Italian opera. His publications have appeared in leading international periodicals, including the Journal of Musicology and Music Theory Online. At present, he is writing a cultural history of opera in Russia during the reign of Nicholas I.

  • Patrick Zuk is a specialist in Russian and Soviet musical culture and is Associate Professor in Music at the University of Durham. His work has been published in Music and Letters, the Journal of Musicology, and other leading journals. He is currently working on a biography of Nikolay Myaskovsky and a study of the role played by traumatic experience in shaping the styles and creative aesthetics of musical modernism.

(p.xiv)