UID:
edocfu_9959235126702883
Format:
1 online resource (702 p.)
Edition:
1st ed.
ISBN:
0-7734-1153-4
Content:
During the sixteen critical years of tumultuous artistic upheaval from 1932-1948, the Soviet Union's cultural authorities strove diligently to establish and refine a functional administrative infrastructure with which to direct and control Soviet Music. Yet in reality, this music policy system did not function as it had been intended to, which was to ensure the creation of Soviet operas acceptable to the Party. Because the agencies controlling the operas could not define which style best represented Socialist Realism, the music policy failed to establish adequate centralized control of Soviet
Note:
Description based upon print version of record.
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Title Page; Copyright Page; Table of Contents; A Note on Transliteration; Abbreviations; Abstract; Foreword; Acknowledgements; Introduction; Problems of Soviet Music Research; From an Emphasis on Stalin to other ""Actors""; Political and Ideaological Control of Soviet Music; Methodology; The Patron-Client Relationship; Soviet Subjectivism and Political Rhetoric; Sorces and Archives; Content of the Chapters; Part 1; Chapter 1- The Development of Soviet Cultural Policy; The Year 1932 as a Watershed; The Union of Soviet Composers; Development of Socialist Realism; Socialist Realism in Music
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Chapter 2- The Creation of Soviet Opera in the 1930'sDubious Fate of 'Lady Macbeth of Mtsensk District'; Shostakovich's Opera as an Approved Opera; Pravada and the Socialist Realism of 'Lady Macbeth'; The Repercussions of the ""Lady Macbeth Scandal""; Chapter 3- Discussions in the Soviet Music during 1936-1937; From Shostakovish's Mistakes to the Dangers of Formalism; Soviet Music Criticism and Sollertinksy in the Firing Line; Down with the Remnants of RAPM! ""Cultural Conspiracy"" Undermines the Purity of Soviet Realism
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Fromer RAPM Elements are Dislodged Leading to the Deminse of Cheliapov and KerzhentsevPart 2; Chapter 4- Anti-Formalist Campaign in 1946-1948; Muradeli's Opera on Trial; The Polemics of 'The Great Friendship'; Faults in the Music of Muradeli's Opera; Faults in the Content of Muradeli's Opera; Mismanagement in the Financing of the Opera; Repercussions of the Muradeli's Affair; A Reduction of Funding at the Expense of Quality; Lebedev's Struggle as a Mediator; Chapter 5- Elite Hierarchies and Entrenched Conflicts of Intrest Are Revealed Within the Union of Soviet Composers
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The Road to Financial AuditsMuzfond's Assets Must Be Audited!; The Audit of the Ministry of State Control; Violations Regarding the Payment of Grants; Noninterest Loans; Author's Royalities and Sheet Music Production; Sheet Music Production; Creative Resorts and Work-Related Trips; Housing and Facilities for Everyday Needs; Repercussions from the Investigations; Muradeli Tries to Escape Scot-Free; Questions Remain About the Results of the Audits; Chapter 6- Boris Asaf'yev's Impact on the Part Line of Soviet Music in 1948; The History of Asaf'yev's Musicological Ideas
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Many Author of Asaf'yev's 1948 SpeechThe Relationship Between Asaf'yev's and Zhdanov's Theories; The Mystery of Asaf'yev's Letter to Audrey Zhdanov; Chapter 7- Sergey Prokofiev's Response to the Resolution; The Question of an All-Union Congress; Boris Khaykin's Different Faces; A Furious Attack on Prokofiev and His Opera; Khrennikov Gives Prokofiev a Slap on the Wrist; Prokofiev's Response to ""Unjustified Criticism""; The Problem of Creating Soviet Opera; Part 3; Chapter 8- Frol Skobeyev and All One's Heart; Khrennikov Asserts His Authority; Khrennikov Wins the Round
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Not About the Music, But the Plot
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English
Additional Edition:
ISBN 0-7734-2611-6
Language:
English
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