Defining Russia Musically

Author: Richard Taruskin
Publisher: Princeton University Press
ISBN: 0691219370
Category : Music
Languages : en
Pages : 594

Book Description
The world-renowned musicologist Richard Taruskin devoted much of his career to helping listeners appreciate Russian and Soviet music in new and sometimes controversial ways. Defining Russia Musically represents one of his landmark achievements: here Taruskin uses music, together with history and politics, to illustrate the many ways in which Russian national identity has been constructed, both from within Russia and from the Western perspective. He contends that it is through music that the powerful myth of Russia's "national character" can best be understood. Russian art music, like Russia itself, Taruskin writes, has "always [been] tinged or tainted . . . with an air of alterity—sensed, exploited, bemoaned, reveled in, traded on, and defended against both from within and from without." The author's goal is to explore this assumption of otherness in an all-encompassing work that re-creates the cultural contexts of the folksong anthologies of the 1700s, the operas, symphonies, and ballets of the 1800s, the modernist masterpieces of the 1900s, and the hugely fraught but ambiguous products of the Soviet period. Taruskin begins by showing how enlightened aristocrats, reactionary romantics, and the theorists and victims of totalitarianism have variously fashioned their vision of Russian society in musical terms. He then examines how Russia as a whole shaped its identity in contrast to an "East" during the age of its imperialist expansion, and in contrast to two different musical "Wests," Germany and Italy, during the formative years of its national consciousness. The final section focuses on four individual composers, each characterized both as a self-consciously Russian creator and as a European, and each placed in perspective within a revealing hermeneutic scheme. In the culminating chapters—Chaikovsky and the Human, Scriabin and the Superhuman, Stravinsky and the Subhuman, and Shostakovich and the Inhuman—Taruskin offers especially thought-provoking insights, for example, on Chaikovsky's status as the "last great eighteenth-century composer" and on Stravinsky's espousal of formalism as a reactionary, literally counterrevolutionary move.

On Russian Music

Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520268067
Category : Biography & Autobiography
Languages : en
Pages : 416

Book Description
This volume gathers 36 essays by one of the leading scholars in the study of Russian music. An extensive introduction lays out the main issues and a justification of Taruskin's approach, seen both in the light of his intellectual development and in that of the changing intellectual environment.

Musorgsky

Author: Richard Taruskin
Publisher: Princeton University Press
ISBN: 9780691016238
Category : Literary Collections
Languages : en
Pages : 456

Book Description
Incorporating both new and now-classic essays, this book sets the vocal works of Modest Musorgsky in a fully detailed cultural, political, and historical context, elevating the composer's image over other biographers. Among the book's many offerings are the most complete explanation of the revision of the opera "Boris Godunov", and a revisionary characterization of "Khovanshchina" as an aristocratic tragedy resulting from a pessimistic view of history. Includes 102 music examples.

Russian Music at Home and Abroad

Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520288084
Category : Music
Languages : en
Pages : 556

Book Description
This new collection views Russian music through the Greek triad ofÊÒthe Good, the True, and the BeautifulÓ to investigateÊhow 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, postÐCold War, and now postÐ9/11 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 ofÊthe 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; andÊto the tension between the compelling artistic quality of works such as StravinskyÕs Sacre du Printemps or ProkofieffÕs 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 TaruskinÕs authority and ability toÊbring living history out of the shadows.

Russian Music at Home and Abroad

Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520963156
Category : Music
Languages : en
Pages : 557

Book 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.

Defining Russian Graphic Arts

Author: Jane Voorhees Zimmerli Art Museum
Publisher: Rutgers University Press
ISBN: 9780813526041
Category : Antiques & Collectibles
Languages : en
Pages : 280

Book Description
Defining Russian Graphic Arts explores the energy and innovation of Russian graphic arts during the period which began with the explosion of artistic creativity initiated by Serge Diaghilev at the end of the nineteenth century and which ended in the mid-1930s with Stalin's devastating control over the arts. This beautifully illustrated book represents the development of Russian graphic arts as a continuum during these forty years, and places Suprematism and Constructivism in the context of the other major, but lesser-known, manifestations of early twentieth-century Russian art. The book includes such diverse categories of graphic arts as lubki (popular prints), posters and book designs, journals, music sheets, and ephemera. It features not only standard types of printed media and related studies and maquettes, but also a number of watercolor and gouache costume and stage designs. About 100 works borrowed from the National Library of Russia and the Research Museum of the Academy of Fine Arts in St. Petersburg, Russia-many seen here for the first time outside of Russia-are featured in this book. Additional works have been drawn from the Zimmerli Art Museum, The New York Public Library, and from other public and private collections. Together they provide a rare opportunity to view and learn about a wide variety of artists, from the acclaimed to the lesser known. This book is a companion volume to an exhibition appearing at the Jane Voorhees Zimmerli Art Museum at Rutgers University.

Russian Music and Nationalism

Author: Marina Frolova-Walker
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 424

Book Description
Challenging what is widely regarded as the distinguishing feature of Russian music--its ineffable "Russianness"--Marina Frolova-Walker examines the history of Russian music from the premiere of Glinka's opera A Life for the Tsar in 1836 to the death of Stalin in 1953, the years in which musical nationalism was encouraged and endorsed by the Russian state and its Soviet successor. The author identifies and discusses two central myths that dominated Russian culture during this period--that art revealed the Russian soul, and that this nationalist artistic tradition was founded by Glinka and Pushkin. The author also offers a critical account of how the imperatives of nationalist thought affected individual composers. In this way Frolova-Walker provides a new perspective on the brilliant creativity, innovation, and eventual stagnation within the tradition of Russian nationalist music.

Russia and Soul

Author: Dale Pesmen
Publisher: Cornell University Press
ISBN: 1501729381
Category : Social Science
Languages : en
Pages : 381

Book Description
This ethnography of everyday life in contemporary Russia is also an examination of discourses and practices of "soul" or dusha. Russian soul has historically appeared as a myth, a consoling fiction, and a trope of national and individual self-definition that drew romantic foreigners to Russia. Dale Pesmen shows that in the 1990s this "soul" was scorned, worshipped, and used to create, manipulate, and exploit cultural capital. Pesmen focuses on "soul" in part as what people chose to do and how they did it, especially practices considered "definitive" of Russians, such as hospitality, the use of alcoholic beverages, steam baths, Russian language, music, and suffering. Attempting to avoid narrow definitions of soul as a thing, Pesmen developed a new way of structuring ethnographic interviews.During her stay in a formerly "closed" military industrial city and surrounding villages, Pesmen spent time on public transportation and in kitchens, steam baths, vegetable gardens, shops, and workplaces. She uses stories from her fieldwork along with examples from the media and literature to introduce a phenomenology of russkaia dusha and of related American and other non-Russian metaphysical notions, exploring diverse elements in their makeup, examining and questioning the world created when people believe in the existence of such "deep," "vast," "enigmatic," "internal" centers. Among theoretical issues she addresses are those of power, community, self, exchange, coherence, and morality. Pesmen's attention to dusha gives her a multifaceted perspective on Russian culture and society and informs her rich portrayal of life in a Russian city at a historically critical moment.

Stravinsky and the Russian Traditions, Volume One

Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520293487
Category : Music
Languages : en
Pages : 992

Book Description
This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturityÑPetrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"Ñthe professional appropriation of motifs and style characteristics from folk artÑand how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.

How St. Petersburg Learned to Study Itself

Author: Emily D. Johnson
Publisher: Penn State Press
ISBN: 0271030372
Category : History
Languages : en
Pages : 322

Book Description
In the bookshops of present-day St. Petersburg, guidebooks abound. Both modern descriptions of Russia’s old imperial capital and lavish new editions of pre-Revolutionary texts sell well, primarily attracting an audience of local residents. Why do Russians read one- and two-hundred-year-old guidebooks to a city they already know well? In How St. Petersburg Learned to Study Itself, Emily Johnson traces the Russian fascination with local guides to the idea of kraevedenie. Kraevedenie (local studies) is a disciplinary tradition that in Russia dates back to the early twentieth century. Practitioners of kraevedenie investigate local areas, study the ways human society and the environment affect each other, and decipher the semiotics of space. They deconstruct urban myths, analyze the conventions governing the depiction of specific regions and towns in works of art and literature, and dissect both outsider and insider perceptions of local population groups. Practitioners of kraevedenie helped develop and popularize the Russian guidebook as a literary form. Johnson traces the history of kraevedenie, showing how St. Petersburg–based scholars and institutions have played a central role in the evolution of the discipline. Distinguished from obvious Western equivalents such as cultural geography and the German Heimatkunde by both its dramatic history and unique social significance, kraevedenie has, for close to a hundred years, served as a key forum for expressing concepts of regional and national identity within Russian culture. How St. Petersburg Learned to Study Itself is published in collaboration with the Harriman Institute at Columbia University as part of its Studies of the Harriman Institute series.