Russian Music and Nationalism from Glinka to Stalin by Marina Frolova-Walker

Ab Imperio ◽  
2010 ◽  
Vol 2010 (1) ◽  
pp. 215-227
Author(s):  
Екатерина Ключникова
Keyword(s):  
Russian Music ◽  
Music And Nationalism

scholarly journals Stalin’s Music Prize: Soviet Culture and Politics

2018 ◽  
Vol 54 (1) ◽  
pp. 177-182
Author(s):  
Ivana Medić
Keyword(s):  
Music History ◽  
Yale University ◽  
Cultural System ◽  
Soviet Culture ◽  
Russian Music ◽  
Soviet Music ◽  
Insight Into ◽  
Power Play ◽  
Music And Nationalism

Ten years ago, tasked with reviewing Marina Frolova-Walker’s first book Russian Music and Nationalism: From Glinka to Stalin (Yale University Press, 2007), I praised the author for dismantling long-standing myths and questioning the activities of some of the sacred cows of Russian music history, and for writing about the topics that “annoyed” her in a most enlightening and gripping way. After reading Frolova-Walker’s latest book, Stalin’s Music Prize: Soviet Culture and Politics, I was thrilled to see that the author is still busting myths, charting the hitherto unexplored areas of Soviet music history, and narrating a fascinating and often hilarious story of the rise-and-fall of Stalin’s prize for artistic achievements. Frolova-Walker provides brilliant insight into the inner workings of the Soviet institutional and cultural system, and the power play that affected the process of rewarding artists whose work was meant to stand for the best that Soviet culture had to offer.

On Russian Music

2008 ◽  
Author(s):  
Richard Taruskin
Keyword(s):  
Russian Music

Russian Music at Home and Abroad

2016 ◽  
Author(s):  
Richard Taruskin
Keyword(s):  
Russian Music ◽  
Music Study ◽  
At Home

Some of the perpetual follies of Russian music study-anxiety about Chaikovsky’s sexuality and unwarranted speculation about Stravinsky’s, the continued currency of Shostakovich’s faked memoirs, the pretense that Prokofieff’s fine music excuses the inhumanity of the texts he willingly set during his Soviet years-are revisited under the aegis of the triad of transcendental values advanced by the Greeks: the Good, the True, and the Beautiful. Some parallel cases from outside the realm of Russian music are considered as well. The upshot: onlythe True is acceptable as a binding if unreachable goal for scholarship.

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