Soviet Composers and the Development of Soviet Music
Author | : Stanley Dale Krebs |
Publisher | : |
Total Pages | : 1018 |
Release | : 1963 |
Genre | : Composers |
ISBN | : |
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Author | : Stanley Dale Krebs |
Publisher | : |
Total Pages | : 1018 |
Release | : 1963 |
Genre | : Composers |
ISBN | : |
Author | : Gerald Abraham |
Publisher | : |
Total Pages | : 112 |
Release | : 1943 |
Genre | : Composers |
ISBN | : |
The author takes eight leading composers of the Soviet Union (Shostakovich, Prokofiev, Khachaturyan, Knipper, Shebalin, Shaporin, Kabalevsky and Dzerzhinsky) and describes their artistic careers - mainly from a purely musical standpoint, though at the same time showing how, in some cases (above all, that of Shostakovich), they have been affected by changes in the artistic policy of the Soviet Government. As a non-communist the author takes a detached, though sympathetic, view of Soviet musical culture. His aim is less to criticize than to give information, though criticism is by no means evaded. Although the book does not pretend to describe the whole vast field of Russian music since the Revolution, its account of representative figures and important compositions (with plentiful music-type examples) conveys, perhaps, a clearer picture of what Soviet musicians are aiming at, and achieving, than could be obtained from a full and detailed survey involving a discussion of numerous minor figures.
Author | : Stanley Dale Krebs |
Publisher | : Taylor & Francis |
Total Pages | : 373 |
Release | : 2024-11-26 |
Genre | : Political Science |
ISBN | : 1040184952 |
Soviet Composers and the Development of Soviet Music (1970) is a thought-provoking review of Soviet music and musicians. This scholarly and readable distillation of factual information and well-reasoned conclusions is the result of many years of exhaustive study of reference works, monographs and journals, as well as musical scores both published and unpublished, all supplemented by interviews and personal participation in Soviet musical life. The author presents a cogent, critical analysis of the relationship between extra-musical pressures and the theory and practice of artistic autonomy. The lives and works of some two dozen major Soviet composers are discussed, and insight is provided into Soviet thinking about music, and thinking about the arts.
Author | : Kiril Tomoff |
Publisher | : Cornell University Press |
Total Pages | : 336 |
Release | : 2018-11-15 |
Genre | : History |
ISBN | : 1501730029 |
Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres. Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.
Author | : Nicolas Slonimsky |
Publisher | : Psychology Press |
Total Pages | : 230 |
Release | : 2004 |
Genre | : Music |
ISBN | : 0415968666 |
Nicolas Slonimsky (1894-1995) was an influential and celebrated writer on music. Born in St. Petersburg, Russia in 1894, in his 101 years he taught and coached music; conducted the premieres of several 20th century masterpieces; composed works for piano and voice; and oversaw the 5th-8th editions of the classic "Baker's Biographical Dictionary of Musicians." Beginning in 1926, Slonimsky resided in the United States. From his arrival, he wrote provocative articles on contemporary music and musicians, many of whom were his personal friends. Working as a freelance author, he built a large file of reviews, articles, and even manuscripts for books that were never published. This is the second volume of a 4 volume collection on the best of this material.
Author | : Jiří Smrž |
Publisher | : LIT Verlag Münster |
Total Pages | : 204 |
Release | : 2011 |
Genre | : History |
ISBN | : 3643104480 |
The Soviet system of rule that developed under Stalin featured management of the arts by political authorities, and the main doctrine inspiring and justifying this activity was "socialist realism." The definition of socialist realism emerged through a fluid process, marked by twists and turns and at times even contestation, in which critics, scholars, and creators alike gave the doctrine practical meaning. Symphonic Stalinism tells this story for music, and author Jiri Smrz examines it in much greater detail than any other scholar before him. In the process, Smrz emphasizes the crucial role played by musicologists, which was probably unique in the history of that discipline internationally. (Series: Osteuropa - Vol. 4)
Author | : Neil Edmunds |
Publisher | : Routledge |
Total Pages | : 258 |
Release | : 2004-06 |
Genre | : Art |
ISBN | : 113441563X |
This book investigates the place of music in Soviet society during the eras of Lenin and Stalin. It examines the different strategies adopted by composers and musicians in their attempts to carve out careers in a rapidly evolving society, discusses the role of music in Soviet society and people's lives, and shows how political ideology proved an inspiration as well as an inhibition. It explores how music and politics interacted in the lives of two of the twentieth century's greatest composers - Shostakovich and Prokofiev - and also in the lives of less well-known composers. In addition it considers the specialist composers of early Soviet musical propaganda, amateur music making, and musical life in the non-Russian republics. The book will appeal to specialists in Soviet music history, those with an interest in twentieth century music in general, and also to students of the history, culture and politics of the Soviet Union.