The Idea of the 1920s in Russian Music Today

2017 ◽  
Author(s):  
William Quillen
Keyword(s):  
Twentieth Century ◽  
Dark Side ◽  
Soviet Period ◽  
Avant Garde ◽  
Russian Music ◽  
Musical Works ◽  
To Come ◽  
Russian Composers ◽  
Post Soviet Period

This chapter examines evocations of the early Soviet avant-garde in new compositions of the post-Soviet period, investigating how contemporary Russian composers imagine the modernist culture of the pre-Stalinist past and its significance. It is based upon interviews conducted by the author with contemporary Russian composers and analyses of recent musical works. As we will see, composers relate to the early Soviet avant-garde in a variety of ways. Importantly, attitudes to the 1920s are not merely celebratory: even some of the individuals today most interested in the early Soviet avant-garde see a dark side to its legacy, finding within modernist art of the Soviet 1920s disturbing messages about Russia’s fate or the course of the twentieth century, or even more sinister prophecies of larger tragedies to come.

Russian Music since 1917

2017 ◽  
Keyword(s):  
Soviet Period ◽  
Iron Curtain ◽  
Musical Life ◽  
Russian Music ◽  
Cultural Life ◽  
Recent Developments ◽  
Powerful Stimulus ◽  
The Cold War ◽  
Difficult Transition ◽  
Post Soviet Period

This volume of essays provides an overview of the transformation that the study of Russian music since 1917 has undergone since glasnost’, both in Russia itself and outside it. Prior to this, scholars on both sides of the Iron Curtain confronted formidable practical difficulties. In the USSR, the operation of strict censorship and ideological constraints seriously hindered the development of scholarship. In the West, ideological perspectives engendered by the Cold War hindered an objective appraisal of many aspects of Soviet cultural life. The changed climate of the post-Soviet period has obviated many of these difficulties, and acted as a powerful stimulus to the development and expansion of the discipline. The seventeen chapters are grouped under six thematic headings. Those in Part I explore the most conspicuous trends and changes in emphasis in recent scholarship, as well as assessing the extent to which pre-glasnost’ ideological perspectives continue to hinder progress. Part II focuses on reappraisals of Socialist Realism and other important topics pertaining to music and musical life of the Stalinist era. Part III examines the damaging effects of censorship on Soviet musicology, and Part IV on recent developments in Shostakovich studies, an area which has been the locus of particularly fierce controversies. Part V focuses on the Russian musical diaspora. The three essays in Part V are concerned with the ways in which the difficult transition to the post-Soviet era has affected Russian compositional activity.

FROM RUSSIA TO THE UK AND BACK ACROSS THE ENGLISH CHANNEL: MUSICAL DISCOVERIES FROM WWII AND THE THAW (recent archival findings and publications)

2020 ◽  
Vol 1 (1) ◽  
pp. 78-85
Author(s):  
E. A. Artamonova ◽  
Keyword(s):  
World War Ii ◽  
Soviet Period ◽  
English Channel ◽  
World War ◽  
Musical Life ◽  
Russian Music ◽  
Musical Works ◽  
The Uk ◽  
Thaw Period ◽  
Good Number

Russian music enjoyed its popularity and appreciation among British audiences throughout the twentieth century. Musical life in London during the period of World War II was infused with a good number of concert programmes. The finest works of national composers of the tsarist Russia were performed along with musical works of the Soviet period regardless of their stylistic peculiarities as well as of the approved or disapproved states of their authors with the Soviet authorities. They laid a fine foundation for an active musical interchange between musicians of both countries formed at the turn of the Khrushchev Thaw period, when the ‘crème de la crème’ of Soviet performers stepped on British soil and British performers toured Russia in the early 1950s. It was down to personal contacts of enthusiastic musicians, rather than only those signed on a governmental level known as the Soviet-British Cultural Agreement of 1959, for example, that did maintain the initiatives and musical collaborations. The concert activities and correspondence of Vadim Borisovsky with his British colleagues, which started much earlier, is the best example in this regard. The discussion of these topics relies heavily on recent archival findings from Moscow and London.

The Music of the Past in Modern Baltic Paganism

2005 ◽  
Vol 8 (3) ◽  
pp. 39-58 ◽  
Author(s):  
Michael Strmiska
Keyword(s):  
Twentieth Century ◽  
Ethnic Identity ◽  
Folk Music ◽  
Crucial Role ◽  
Folk Songs ◽  
Religious Movements ◽  
Soviet Period ◽  
The Past ◽  
Folk Traditions ◽  
Post Soviet Period

Modern Baltic Paganism grew out of nineteenth- and twentieth-century folklore research into the folk music, folklore and traditional ethnic cultures of Latvia and Lithuania. Research into native Latvian daina and Lithuanian daino folk songs with their rustic beauty, symbolic richness, and intriguing linkages to ancient Indo-European cultures and religions generated a new sense of pride and ethnic identity among Latvians and Lithuanians. Spiritually inclined folklorists developed religious movements that recreated rituals and beliefs linked to the dainas and dainos. Repressed during Soviet times, these movements have reemerged and flourished in the post-Soviet period. There can be no doubt that music, which over the centuries has played such a crucial role in the transmission of Latvian and Lithuanian folk traditions including native Pagan religions, will remain front and center in the continuing evolution of modern Baltic Pagan religions in Latvia and Lithuania and beyond.

The poetics of language

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Soviet Period ◽  
Avant Garde ◽  
And Performance ◽  
The 1960S ◽  
Post Soviet Period

The chapter analyzes language-oriented poets and movements, showing how different conceptions of the poetic word emerged and influenced writing and performance throughout the period. The chapter follows the ramifications of avant-garde experiment, expressed in manifestos, public gestures, and performances. These innovations continued to influence the artistic practices of the 1920s and were revived later in the 1960s–80s. They comprised a legacy for concrete and Conceptualist poetry and, later, Metarealism. The chapter discusses the connection of these groups to underground culture, and shows how the inherited tropes of the avant-garde join up with postmodernist poetics and narratives in the post-Soviet period.

Some Linguistic Observations

Tempo ◽  
1946 ◽  
pp. 255-257
Author(s):  
Béla Bartók
Keyword(s):  
Russian Music ◽  
Musical Works ◽  
Russian Composers ◽  
Professional Critics

Russian music is getting more and more popular nowadays: works of hitherto unknown Russian composers emerge each season and are performed at our concerts beside the older standard works. The works themselves are, or at least should be, of course, the thing that matters most in this connection, and not the names or personalities of the authors. Many of us enjoy the sight of old cathedrals, and find delight in pictures or poems of anonymous painters and poets without bothering to know who the architects or authors were. One wonders if it would not be preferable—though not to some of the professional critics—to have musical works performed without indicating the names of their composers. However this may be, the general usage requires the mentioning of the composer, and this for many reasons. As long as this usage is observed, it is perhaps no pedantry to insist upon a correct and consistent spelling of the composers' names. While this requirement is pretty well satisfied in general, this is by no means the case with the names of Russian composers. Let us quote some examples.

Epilogue

2017 ◽  
Author(s):  
Eren Tasar
Keyword(s):  
Central Asia ◽  
State Policies ◽  
Soviet Period ◽  
Soviet History ◽  
Central Asian ◽  
Soviet Legacy ◽  
To Come ◽  
Soviet Central Asia ◽  
Central Asian Republics ◽  
Post Soviet Period

Dramatic changes took place in the religious sphere during the tumultous final years of Soviet history. Shamsuddin Boboxonov’s unprecedented ouster as mufti in 1989 offered a preview of the confusion that was to come: SADUM’s disintegration into national muftiates for each of the five Central Asian republics took place rapidly, in a climate of ethnic conflict. Though the Central Asian muftiate ceased to exist in 1991, the precedents established by the CRA-SADUM alliance continued to shape relations between Islam and the state in the post-Soviet period. In one important respect, however, those relations have departed dramatically from the Soviet legacy: now that the independent republics have abandoned communism and atheism, little incentive exists for a moderate line toward religion. This explains why state policies toward religion in post-Soviet Central Asia became more repressive after the collapse of the USSR, not less.

scholarly journals Внесок Харківської лінгвістичної школи у становлення й розвиток теорії невербальної комунікації

2020 ◽  
Vol 55 ◽  
Author(s):  
Тетяна [Tetiana] Федорівна [Fedorivna] Осіпова [Osipova]
Keyword(s):  
Communication Theory ◽  
Initial Period ◽  
Verbal Communication ◽  
Soviet Period ◽  
Late Nineteenth Century ◽  
Avant Garde ◽  
Current Period ◽  
World Class ◽  
Discourse Practice ◽  
Post Soviet Period

Contribution of the Kharkiv Linguistic School to the Formation and Development of Theory of Non-Verbal CommunicationThis article describes contribution of the Kharkiv linguistic school to the formation of theory of non-verbal communication (NVC) and indicates the periods of its development in Ukrainian linguistics: from the psycholin­guistic research of Oleksandr Potebnia (the late nineteenth century) to modern pragmalinguistic studies. The article aims to familiarise the European scholarly community with theoretical achievements of world-class Ukrainian linguists: Oleksandr Potebnia, Leonid Bulakhovs′kyĭ, Iuriĭ Shevel′ov (Iuriĭ Sherekh, George Shevelov), who directly or indirectly formed a theory of non-verbal communication (its methodological postulates, typology of non-verbal parameters, terminology), as well as with achievements of their followers, representatives of the pragmalinguistic branch of the Kharkiv linguistic school, exploring issues of NVC theory in the framework of discourse theory.Modern Ukrainian linguists actively develop non-verbal communication theory in relation to discourse practice (theoretical, terminological, stylistic, ethnocultural, idiolectic, gender and lexicographic aspects) and declare to have worked out a methodology for a comprehensive analysis of the non-verbal communication system on the basis of oral and written Ukrainian material. However, the article draws attention to the lack of a national Ukrainian theoretical platform, uniform NVC metalanguage and research methods, and identifies this issue as the most pressing research challenge.Based on the presented conceptualisations, the article identifies five periods of the formation and development of the Ukrainian theory of NVC, as reflected in the achievements of the most well-known and the strongest school in Ukrainian linguistics: (1) the initial period: late 19th – early 20th centuries; (2) the avant-garde period: 1920s–1930s; (3) the Soviet period: 1930s–1960s; (4a) the (“post-Soviet”) diaspora period (1970s); (4b) the post-Soviet period (1990s); (5) the current period: since the early 2000s. The article also outlines research prospects in this study area.Wkład charkowskiej szkoły językoznawczej w powstanie i rozwój teorii komunikacji niewerbalnejNiniejszy artykuł opisuje wkład charkowskiej szkoły językoznawczej w powstanie i rozwój teorii komunikacji niewerbalnej oraz nakreśla etapy rozwoju tej teorii w ukraińskim językoznawstwie, począwszy od psycholingwistycznych badań Ołeksandra Potebni pod koniec XIX wieku aż po współczesne badania pragmalingwistyczne.Artykuł ma na celu zapoznanie europejskich badaczy z teoretycznymi osiągnięciami ukraińskich językoznawców światowej klasy: Ołeksandra Potebni, Leonida Bułachowskiego, Jurija Szewelowa (Jurija Szerecha, George’a Shevelova), którzy bezpośrednio lub pośrednio przyczynili się do sformułowania teorii komunikacji niewerbalnej (jej postulatów metodologicznych, typologii parametrów niewerbalnych, terminologii), jak również z osiągnięciami ich następców, przedstawicieli nurtu pragmalingwistycznego charkowskiej szkoły językoznawczej, badających zagadnienia teorii komunikacji niewerbalnej w ramach teorii dyskursu.Dzisiejsi językoznawcy ukraińscy aktywnie rozwijają teorię komunikacji niewerbalnej w odniesieniu do praktyki dyskursu (w aspekcie teoretycznym, terminologicznym, stylistycznym, etnokulturowym, idiolektalnym, genderowym i leksykograficznym) i deklarują stosowanie opracowanej na bazie ukraińskiego materiału ustnego i pisemnego metodologii wszechstronnej analizy systemu komunikacji niewerbalnej. Artykuł zwraca jednak uwagę na brak ogólnokrajowej platformy teoretycznej, jednolitego metajęzyka i metod badawczych, wskazując przy tym, że jej stworzenie stanowi najpilniejsze zadanie stojące przed badaczami.Na podstawie przedstawionych konceptualizacji artykuł wyróżnia pięć okresów rozwoju ukraińskiej teorii komunikacji niewerbalnej w odniesieniu do osiągnięć charkowskiej szkoły językoznawczej, najbardziej znanej i najlepszej szkoły ukraińskiego językoznawstwa: 1) okres początkowy (schyłek XIX i początek XX wieku); 2) okres awangardy (lata 20. i 30. XX wieku); 3) okres radziecki (od lat 30. do 60. XX wieku); 4a) okres „postradzieckiej” diaspory (lata 70. XX wieku); 4b) okres postradziecki (lata 90. XX wieku); 5) okres współczesny (od początku XXI wieku). Artykuł przedstawia również perspektywy badawcze na tym polu.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

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