Boris Asaf'ev and the Soviet Musicology - E-thesis

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109 procedural nature of music created an option for schematic contemplation of music. His philosophical definitions within conventional terminology such as simfonizm and intonation influenced the Soviet and the current Russian musicological thinking.
6. CONCLUSIONS 110 My Chapter of conclusions falls short to avoid repetition since the nature of the study is to draw conclusions as the text proceeds (I would inform one to take a look at the Chapters 4.3.1, 4.3.2 and 5.2.3 to get the fast results of this work). Indeed, in this Chapter, I make only some general conclusions. In this overview on Asaf’ev, I have tried to illuminate some of the problems that are related to the study on Asaf’ev and on Soviet musicology in general. I have tried to gather information and to create the basis for my future studies on Asaf’ev and on Russian music and culture in general. In the first Chapters I came to a conclusion that socialist realism is a wide phenomenon that needs to be approached from different aspects. When exploring cultural figures of Soviet time, not only the socialist realist context is important, but also its roots, the past Russian tradition of the 19 th century. The field of study is contradictory but not impossible. There may not be logic but there are answers. The short biography functions in this work as a skeleton, and as I mentioned, the critical biography has not yet been written. Asaf’ev’s political side is also quite obcure. However, personally I am not as interested to study his political side as I am interested to study his influence on Soviet music and his status in the Russian musical tradition. I have no desires to take a stand to the moral questions of Asaf’ev’s character. However, this as well as my future studies on Asaf’ev may produce some kind of a survey on the question along the way but hopefully without any emotional preference as some scholars tend to have. Secondly, whether Asaf’ev was a loyal bolševik in his thoughts one may never find out. There is no family left to tell and even that would hardly give objective information. Many Russians lived double life during the Soviet Union. Among others, Igor Stravinskij is a good example of that. As Rosamund Bartlett has noted: “Stravinsky was proficient in creating a smoke-screen about who he really was…Stravinsky’s habit of falsifying his own life story means that we must clearly treat his pronouncements with circumspection, but his highly emotional and apparently
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ORIS aSAF’EV AND THE sOVIET mUSIC
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5.2 The Second Literary Period: Int
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the aesthetical and musico-theoreti
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Haas has noted: he used “shaky an
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“leftist” 11 mark on his works
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The Chapter Four and Chapter Five f
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The younger generation, Aleksander
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them to some degree in 1918-1919, h
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produced’, or as ‘the socialist
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conservative writers. 43 This aspec
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authorities and formulators of soci
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control the society according to th
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and “neo-nationalist” Igor Stra
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“mass songs” with ideological t
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possible. As a composer you could n
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thoughts is to be given, living tra
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confusingly obscure and dependent o
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Table 3. HISTORICAL FORMATION Histo
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3. BORIS VLADIMIROVIČ ASAF’EV’
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Iskusstvo (The World of Art) 108 an
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”Soblazny i preodolenija” (Temp
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can one compare these works with th
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Soviet Composers. The new directora
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Asaf’ev emphasized musicology as
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content of musical art. 162 McQuere
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A cause of many negative traits was
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4. THE FIRST LITERARY PERIOD OF BOR
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aesthetically and not according to
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ecause of his personal gifts. 191 L
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when exploring the “Symbolists’
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Page 65 and 66: manifested, for instance, in Byzant
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Page 101 and 102: Works) (1952-1957). However, it was
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Page 109 and 110: 106 be Asaf’ev’s topmost idea.
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Page 115 and 116: 112 Chapter Five concludes that alt
Page 117 and 118: List of some of the Notable Works o
Page 119 and 120: 116 ASM (Associcija Sovremennoj Muz
Page 121 and 122: Berg, Alban (1885-1935) Austrian co
Page 123 and 124: Javorskij, Boleslav (1877-1942) gra
Page 125 and 126: Ostwald, Wilhelm (1853-1932) German
Page 127 and 128: Trotskij, Lev Davydovič (born Bron
Page 129 and 130: Asaf’ev, Boris V. Russkaja živop
Page 131 and 132: Tull, James R. B. V. Asaf’ev’s
Page 133 and 134: Harrison, Charles & Wood, Paul. Art
Page 135 and 136: Reader, Melvin, ed. A Modern Book o
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Boris Asaf'ev and the Soviet Musicology - E-thesis

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