Such freedom, if only musical : unofficial Soviet music during the Thaw
著者
書誌事項
Such freedom, if only musical : unofficial Soviet music during the Thaw
Oxford University Press, 2009
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [343]-374) and index
内容説明・目次
内容説明
Following Stalin's death in 1953, during the period now known as the Thaw, Nikita Khrushchev opened up greater freedoms in cultural and intellectual life. A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was this perhaps more true than in music. Students at Soviet conservatories were at last able to use various channels-many of questionable legality-to acquire and hear music that had
previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. In the 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo Part, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and
unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music of predictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations.
This "unofficial" music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance or opposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and
supplements this first-hand testimony with careful archival research and detailed musical analyses. The first book to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of
Russian culture and society.
目次
- Note on transliteration
- 1. Introduction
- 2. The Dam Bursts: The First and Second Conservatories
- 3. Andrey Volkonsky and the Beginnings of "Unofficial" Music
- 4. From "Young" to "Unofficial": Denisov's Sun of the Incas
- 5. "Unofficial" Venues, Performers, and Audiences
- 6. From Abstraction to Mimesis, from Control to Freedom: Part, Schnittke, Silvestrov, Gubaidulina
- 7. Denisov's Laments, Volkonsky's Rejoinder
- 8. Conclusion: The Farewell Symphony
- Epilogue: Reflections on Memory and Nostalgia
- Appendices
- Bibliography
- Index
「Nielsen BookData」 より