Russian music at home and abroad : new essays
Author(s)
Bibliographic Information
Russian music at home and abroad : new essays
(Roth Family Foundation Music in America imprint)
University of California Press, c2016
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and index
Description and Table of Contents
Description
This new collection views Russian music through the Greek triad of "the Good, the True, and the Beautiful" to investigate how the idea of "nation" embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much of the volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products.
Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; and to the tension between the compelling artistic quality of works such as Stravinsky's Sacre du Printemps or Prokofieff's Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskin's authority and ability to bring living history out of the shadows.
Table of Contents
- Preface Introduction: My Wonderful World
- or, Dismembering the Triad PART ONE: NOT BY MIND? 1. Non-Nationalists, and Other Nationalists 2. Revenants 3. Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter? 4. Catching Up with Rimsky-Korsakov 5. Not Modern and Loving It 6. Written for Elephants: Notes on Rach 3 7. Is There a "Russia Abroad" in Music? 8. Turania Revisited, with Lourie My Guide 9. The Ghetto and the Imperium 10. Two Serendipities: Keynoting a Conference, "Music and Power" 11. What's an Awful Song Like You Doing in a Nice Piece Like This? The Finale in Prokofieff's Symphony-Concerto, Op. 125 12. The Birth of Contemporary Russia out of the Spirit of Music (Not) PART TWO: REVISITING STRAVINSKY 13. Just How Russian Was Stravinsky? 14. How The Rite Became Possible 15. Diaghilev without Stravinsky? Stravinsky without Diaghilev? 16. Resisting The Rite 17. Stravinsky's Poetics and Russian Music 18. Did He Mean It? 19. In Stravinsky's Songs, the True Man, No Ghostwriters 20. "Un Cadeau Tres Macabre" Index
by "Nielsen BookData"