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This essay will examine critical discourses regarding Peter Tchaikovsky as a symbolic figurehead of high-brow Russian music in the two most widely circulated Austrian newspapers of the Allied occupation period: the Wiener Kurier (WK) and the Salzburger Nachrichten (SN), both affiliated with the US administration. In the context of Austria's (problematic) denazification, post-war reconstruction, nation-building and reorientation towards the West, the reception of Tchaikovsky serves as a litmus test of negotiations concerning questions of cultural capital, habitus, musical canon, and nationalism (Otherness), Austria's position as Europe's Musikland, and a composer's branding. Influential critics evaded a clear positioning within the Cold War 'East–West' context by appropriating Tchaikovsky for constructing an Austrian, European identity from a position of cultural power. This led to the coexistence of several musical 'Russias' in the Austrian public space: Soviet cultural diplomacy, US promotion of musical modernity (Stravinsky) and Austrians' own, and self-interested, reconstruction of a Russian 'national' canon. Wiener Kurier and Salzburger Nachrichten columnists display a significant degree of middle-term continuity, while developing remarkable independence from and agency vis-à-vis the hard power presence of both the United States and the USSR, by subverting the superpowers' cultural offensives, engaging in Austrian prestige politics, and affirming their interpretative sovereignty and knowledge-power within the re-emerging Austrian musical field. The music critics' robust judgment, combined with the relative popularity that Tchaikovsky enjoyed, affirmed the considerable autonomy of the cultural field, and the discursive pre-eminence of musical conservatives and their knowledge-power. [ABSTRACT FROM AUTHOR]

The nationwide prominence of Russian oppositional artists has inspired a fair number of studies analyzing the political aspects of their creative output. We argue that the new generation of Russian musicians, whose art became popular in the end of 2010s, brings political engagement to a qualitatively new level. Following Jacques Rancière, we reject the assumption that critical art can bring about political mobilization by exposing social evils. Instead, we juxtapose politics and police, distinguishing between transformative moments of discursive confrontation and the mundane activity centered on distributing places and roles. In this article, we look at three popular Russian musical collectives – IC3PEAK, Shortparis, and Monetochka – whose art disrupts the police order in a novel and subversive manner. Some of their works became even more timely with the outbreak of Russia's large-scale aggression against Ukraine. We have performed multimodal discourse analysis of their audio and video clips, aimed at identifying the ways in which these artworks create the conditions of possibility for new politics by re-articulating the connection between the political and the universal. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences Studies is the property of Social Sciences Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper seeks to contribute to the current discussion of world Englishes by showing how English is used in popular music reviews in Russia, a context that has not been addressed in previous research. Drawing on sets of textual and ethnographic data, we argue that English and Anglicisms contribute to the expressiveness and precision of musical reviews, enhance promotion of musical products and become part of the unique identity that ties Russian music fans together. We show how English evokes connections to global contexts in the local community and how Russian speakers use English resources creatively, adapting them to local needs and modifying English musical terms through Russian word‐formation mechanisms, to make them more local. [ABSTRACT FROM AUTHOR]

This article addresses Rachmaninoff’s activities in Paris, both a musical capital of the world and unrivalled cultural centre of the Russian emigration until 1940. It looks at the small number of concerts performed by the pianist there and places them in the context of the French press. It attempts to understand his ambiguous personal relationship to the city, the activity of his publishing company “TAIR”, and finally assesses the extent of the composer’s charitable endeavours for the Russian community. The article concludes Rachmaninoff was of monumental significance for the “Russian” Paris.

This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.

In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin's name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff's widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner's music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers' contrasting popularity from the perspective of their life and work. [ABSTRACT FROM AUTHOR]

Der Aufsatz untersucht, inwieweit im musiktheoretischen Schrifttum russischer und sowjetischer Autor*innen des 19. und 20. Jahrhunderts eine Orientierung am westeuropäischen Kanon musikalischer Formen stattfindet und in welchem Umfang dieser durch russische Übersetzungen von Lehrbüchern aus dem Westen reflektiert wird – insbesondere bezogen auf das akademische Paradigma der Sonatenform. Durch eine Gegenüberstellung des in den diskutierten Schriften gebrauchten Vokabulars werden außerdem Rückschlüsse auf den Transfer analytischer und satztechnischer Terminologie im Lichte verschiedener ästhetischer Ideen der Sonatenform ermöglicht. Die Studie konzentriert sich auf den Zeitraum ab der Gründung der beiden Konservatorien in Sankt Petersburg und Moskau bis zum Ende des Zweiten Weltkriegs. // This article examines the extent to which the orientation toward Western European theories of musical form – in particular, the academic paradigm of sonata form – is reflected in the writings of Russian and Soviet scholars of the nineteenth and twentieth centuries as well as in Russian translations of German and English treatises. By comparing how sonata terminology is used in the discussed writings, conclusions are developed concerning the transfer of analytical and compositional vocabulary from Western to Eastern Europe in the light of aesthetic theories associated with sonata form. The study covers a period from the foundation of the Saint Petersburg and Moscow Conservatories to the end of World War II.

This article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East–West relations; Russian economic growth and the subsequent renovation of Moscow; and the connectivity and expansion of the independent music community. The article also argues that the success of local Anglophone bands, as well as the appearance of an 'indie' sound and an 'indie' music scene (indi), was the result of a concerted effort by Russian music participants to bring and incorporate the Other – the West – into Russia's everyday life. The English language, correspondingly, functioned as a 'tool' for this operation. [ABSTRACT FROM AUTHOR]

The paper deals with Edvard Grieg's connections with Russia primarily considering his intended but failed concert tour to this country. Grieg established a warm and fruitful relationship with some of the Russian musicians. Their communication is reflected in the composer's correspondence. Grieg's music in Russia became very popular and widely performed already in Grieg's living time. The manner of musical expression in Grieg's oeuvre is considered very close to Russian musicians and audiences. In spite of these facts, Grieg's concert tour to Russia, which he intended to implement many times, never happened. Grieg's letters written in different years reveal the history of creating travel plans and their failure. Those unsuccessful attempts were determined by three kinds of reasons: obligations for other countries to come with concert tours, health issues, and the political situation. The tragic consequences of the political events (Russia's war with Japan, suppressing of the 1905 Revolution) were morally unacceptable to Grieg and prevented him from coming to Russia. Thus, the history of Edvard Grieg's not implemented concert tour to Russia is a conspicuous example of the negative impact of politics on the cultural relationship and collaboration. [ABSTRACT FROM AUTHOR]

The article offers information on the extended techniques and auxiliary registers for the bass sections. Topics discussed include strengthening the bass sections of American choirs; use of false-fold undertones in Tuvan throat singing; and use of ingressive fry in Russian music and certain types of repertoire.

This article introduces a rarely covered topic in Cold War research – the superpower collaboration and competition to sell and distribute Soviet classical music recordings in America. While analysing the case of pianist Sviatoslav Richter's 'bootlegged' recitals at Carnegie Hall in October 1960, this article discusses the challenges for Soviet-American collaboration in capitalising Richter's intellectual property for American musical markets. The case of the unauthorised sale of Richter's recordings shows how the American entrepreneurs used the Soviet government's inexperience in the capitalist environment. It ultimately became necessary for the Soviet government to take part in capitalist speculation. [ABSTRACT FROM AUTHOR]

As Russia's first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia's musical institutions--its opera houses and theaters, its concert organizations and publishers--to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky's financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer's archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia's musical "marketplace" at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky's decision to work in particular musical forms on the other. By examining the connections among Russia's nascent musical institutions, Chaikovsky's particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia's musical "art world" in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky's economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century. [ABSTRACT FROM AUTHOR]

Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country’s musical culture on the multicultural map of Europe.

This article challenges the privileged position that Glinka's Kamarinskaia (1848) has assumed in accounts of Russian instrumental music. The first half of the article investigates nineteenth-century reception of Glinka's orchestral works and demonstrates that his Jota Aragonese (1845) and Memory of a Summer Night in Madrid (1851) were just as popular as Kamarinskaia among Russian audiences of the time. It also traces the persistent references that critics such as Vladimir Stasov and Alexander Serov made to the organic qualities of all three of these orchestral fantasias. Although the variational techniques that Glinka employs in the fantasias have commonly been viewed as the very opposite of organic, Stasov and Serov appear to have been relying on a different theorization of musical organicism, namely that of Adolf Bernhard Marx. A Marxian framework helps to explain the popularity of Jota and Madrid alongside Kamarinskaia in nineteenth-century Russia, and it also provides an entry point for closer analytical investigations of the three fantasias. These analyses, comprising the second half of the article, illustrate certain distinguishing features of each fantasia as noted by nineteenth-century musicians and suggest that the fantasias represent highly divergent approaches to orchestral composition. Given the prominence of all three fantasias in nineteenth-century Russia, an awareness of these contrasting approaches allows for a more nuanced understanding of the compositional choices made by subsequent generations of Russian composers. [ABSTRACT FROM AUTHOR]

This article documents a minor but charming moment in the history of Russian music. It involves the little-known Russian composer Peter Petrovich Sabouroff and the well-known Ukrainian/Russian pianist Vladimir de Pachmann. In 1906 Pachmann recorded a piano roll in which he added improvisations to a Polka composed by Sabouroff. I use the roll to create a previously unavailable score of the composition (including the improvisations) and an audio rendition of Pachmann's playing of it. This rendition does not use a physical reproducing piano; instead, the details recorded on the roll were mechanically digitised and then converted to sound by computer means. Piano roll recording technology had at least three substantial limitations. One limitation is newly discovered here: uncertainty as to which notes were actually played by the pianist; it is dealt with by editing the data. A second limitation is well-known: loudness was recorded at only two levels for the whole keyboard at any one time (though it could vary over time); it is dealt with by a novel algorithmic method. A third limitation concerns pedalling: only two levels were available, fully on or fully off; it is dealt with by editing based on listening. Finally, a new method of randomising the loudness attempts to give the rendition a more human quality than either the roll itself or the deterministic loudness algorithm could, by themselves, provide. [ABSTRACT FROM AUTHOR]

Soviet and post-Soviet rock music zines comprise a fascinating resource not only for historians of music, but also for cultural historians, graphic designers, linguists, and specialists in other disciplines as well as the general public. This article discusses the importance of creating a digital project, based on the highly unique Russian rock/Youth Counterculture rock zine collection from the Global Resources Center at the George Washington University Library and other sources. The author describes the content and organization of the project, which would serve as a platform for research and teaching. In addition, various challenges involved in the implementation of the project, such as copyright issues, are addressed. [ABSTRACT FROM AUTHOR]

This article presents an alternative account of the initial reception of jazz in Britain. It suggests that jazz and the contemporaneous Russian Revolution were equally seen as the latest threats to indigenous British music and culture. The reminiscences of Sir Robert Bruce Lockhart in Russia initiate a discussion of early twentieth-century anthropology. A theory of primitivism is applied to Russian music, programmed from 1895 by Sir Henry Wood for Promenade Concerts aimed at a popular audience. The final section of the article examines press responses to (1) pre-war Russian ballet and ragtime, and (2) Bolshevik violence and jazz dancing in the early months of 1919. Newspapers encouraged their readership to combine images of the Russian Civil War and jazz, with the result that the first appearance of the Original Dixieland Jazz Band in London was greeted as 'organised Bolshevism in music'. [ABSTRACT FROM AUTHOR]

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Actress and singer Nina Sibirtzeva (1899, Russia–1957, Buenos Aires) developed her inconspicuous career in the popular Jewish theater in Russia and Eastern Europe and moved to Buenos Aires in 1938, where she adapted her repertoire and from where she toured other cities in the Americas, always performing on circuits that were removed from mainstream entertainment. What can we make of her obscure journey? This article attempts to understand Sibirtzeva's artistic choices and, through them, some structural but unexplored aspects of the globalization of popular music in the twentieth century. Based on evidence rescued from the almost destroyed archives of the IWO (Idisher Visnshaftlejer Institut or Yiddish Research Institute) in Buenos Aires, the article focuses on the meaning of the words popular and populism in music; the engagement of popular artists with musical technologies, markets, migration, and politics; and the conceptual and historiographical question of how to deal with biographies that do not match the cultural mainstream, operating instead at the intersection of different cultural streams. [ABSTRACT FROM AUTHOR]

Balakirev's overtures on national themes are commonly seen as the primary avenue in the development of Russian orchestral music, but there is little consensus regarding what constitutes this avenue, other than that Balakirev took Glinka's Kamarinskaia as a starting point. This article presents an alternative perspective on the overtures, challenging the widely recounted connection between the overtures and Kamarinskaia, and portraying them as three consecutive stages of conscious experimentation with contemporary pan-European forms and generic norms. The unifying thread throughout these experiments is structural discord, which manifests itself whimsically in the First Russian Overture, with greater urgency and grandeur in the Second Russian Overture, and finally with cataclysmic frenzy in the Czech Overture. [ABSTRACT FROM AUTHOR]

The term intonatsia has been used ubiquitously in Russian and Soviet music analysis and pedagogy since Boleslaw Yavorsky introduced it in 1908 and Boris Asafiev developed it into a universally applicable concept. It proved to be rather vague and complex because of the overwhelming range of meanings and polysemic etymology, considering that one may identify intonatsia not as a term but as a category. Today, this older term can acquire newer shades of meaning if placed in the context of latest achievements of music theory in the areas of musical semiotics, theories of topics, Satzmodelle and partimenti. [ABSTRACT FROM AUTHOR]

This article analyses the relationship between political youth organisations, music and national identity in contemporary Russia. It focuses on four of the most representative political youth groups present in the city of St. Petersburg – the Young Guard, the National Bolsheviks, the Movement Against Illegal Immigration (DPNI), and Oborona [Defence] – and describes their conceptualisation of post-Soviet Russianness, as captured through an analysis of their lyrics. The main contribution of this empirical study is the detection of convergences and divergences with regard to the national identity issue characterising youth organisations that position themselves differently in the Russian political spectrum.

This essay explores ways in which musicologists might extend work undertaken by humanities scholars in the interdisciplinary field of trauma studies that has highlighted the centrality of traumatic experience to modernist creativity. It is focussed around a case study of a musical composition that represents the emotional aftermath of a traumatic event, the Sixth Symphony of the Soviet composer Nikolay Myaskovsky (1923). A central concern is to demonstrate how the symphony’s musical symbolism is strikingly evocative of typical features of post-traumatic mentation, such as dissociation and emotional numbing, and the inhibition of the ability to mourn. It closes by considering the potential implications of the findings for understanding work by other modernist composers. [ABSTRACT FROM AUTHOR]

In Foucault’s Pendulum kombiniert Tarnopolski etablierte Verfahren und Stilistiken der Neuen Musik. Dennoch ist das Resultat nicht mit starren theoretischen Systemen greifbar, sondern fordert einen undogmatischen Zugang. Der Titel des Ensemblewerks, der auf ein berühmtes Experiment zum Nachweis der Erdrotation anspielt, wirft die Frage nach einem möglichen Verweischarakter der Musik auf. In Foucault’s Pendulum Tarnopolski combines well-established techniques and styles of contemporary music. However, the result cannot be interpreted with the help of rigid theoretical systems but requires a non-dogmatic approach. The title of this ensemble piece that alludes to a famous experiment intending to prove the fact of earth rotation brings up the question of the music’s potentially referential quality.

This article analyses domestic amateur music-making in nineteenth-century Russian provincial towns. By moving away from the artistic centre -- geographically, in relation to the repertoire and in terms of musicianship -- it shifts attention from intellectual debate about the nature of Russian nineteenth-century music, to the more complex realm of musical practice. Instead of describing a musical culture that revolved around the oppositions of Western versus Russian musical expression, the sounds of the domestic space analysed here show how contemporaries reconciled international dances and operatic arias with Russian, Ukrainian and Gypsy folksong. Their musical practices thus gave rise to a soundscape that was at once international, imperial, national and local, and which focused on sentimentality and domesticity. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Journal of Journalism & Communication / Revista Română de Jurnalism şi Comunicare- RRJC is the property of Romanian Journal of Journalism & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Observing the use of landscape as a category of reception, whether in nineteenth-century debates about artistic realism or Soviet-era criticism, this article examines the uses of landscape in several songs by Rimsky-Korsakov and replaces a persistent emphasis in criticism on questions of representation with a focus on how music generates a sense of subjectivity. Three approaches facilitate a more subtle and variegated understanding of Rimsky-Korsakov's "soundscapes" than has been proposed so far. First, landscape is interpreted as a facet of Russian national identity in the second half of the nineteenth century. Second, the evocation of the sounds of the natural world is seen as a metapoetic commentary on the creative act, providing an "internal" commentary on landscape to match the "external" one of the nation. Intertwined with these two themes is a series of parallels between music, literature, and the visual arts, which together show that Rimsky- Korsakov's songs are indicative of a tension between dynamism and stasis that is characteristic of musical representation of landscapes, and that has often been seen as characteristic of Russian music more generally. [ABSTRACT FROM AUTHOR]

This paper examines the diverse communicative practices of the popular TV show The Voice Russia and highlights the role and function of language ideologies in Russian popular music. We argue that language choice in songs is guided by two sets of ideas—the ideologies of pop music professionals, who have a strong English bias, and the popular beliefs held by the audience, who support the integrity of the Russian language and culture. Analysis of multilingual songs which combine lyrics and music from different countries (and cultures) reveals the role of language alternation as a resource of meaning making and an instrument for constructing ethnic, local, and glocal (transnational-but-localized) identities. [ABSTRACT FROM AUTHOR]