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

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A Note on Transliteration An international system of transliteration is employed in this work. Although English literature most commonly uses British system when translating people’s names, this work uses international system systematically in all cases. Thus Louré is translated Lur’e and Stravinsky is transliterated Stravinskij. The international system of transliteration is employed here for two reasons: first of all, it is more precise and readable for non-native English speakers than the British system. Second, it is clearer to use only one transliteration for the sake of coherence of the work. The Following table sets out the system used. Russian letter ‘International’ System A a a Б б b B в v Г г g Д д d E е je/e Ë ë jo/ë Ж ж ž З з z И и i Й й j К к k Л л l М м m Н н n О о o П п p Р р r С с s Т т t У у u Ф ф f Х х h Ц ц c Ч ч č Ш ш š Щ щ šč ъ ” ы y ь ’ Э э è Ю ю ju Я я ja 113
List of some of the Notable Works of Asaf’ev in Chronological Order: 1917 Article: “Vpečatlenija i Mysli” [Experiences and thoughts] in Melos: Knigi o muzyke [Melos: Books about music] 1918 Articles: “Soblazny i preodolenija” [Temptanions and triumphs] in Melos: Knigi o muzyke [Melos: Books about music] “Puti v buduščee” [Pathways to the future] in Melos: Knigi o musike [Melos: Books about music] 1919 Putevoditel’ po kontcertam: 1. Slovar’ naibolee neobhodimyh muzykal’no-tehničeskih oboznačenii [Concert Guide: (1) Dictionary of the Most Important Technical Musical Terms] 1922 Monographies on Frans Liszt, Rimskij-Korsakov and Chopin 1923 Simfoničeskie etjudy [Symphonic Etudes] Monographies on Musorgskij, Skrjabin and Čajkovskij 1924 Monography on Glazunov 1928 Russkaja muzyka XIX i načalo XX veka [Russian Music from the Beginning of the Nineteenth Century] 1929 Kniga o Stravinskom [A Book about Stravinsky] 1930 Muzykal’naja forma kak process. [Musical Form as a Process] 1941–1942 Monography on Grieg 1944 Monography on Rimskij-Korsakov 1948 Intonacija [Intonation], Monography on Glinka 114
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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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Asaf’ev’s writing contains same
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As Orlova has noted Lipps has a cle
Page 65 and 66: manifested, for instance, in Byzant
Page 67 and 68: constructed in the circumstances of
Page 69 and 70: distorted the phenomena of continui
Page 71 and 72: motion 248 . Losskij wrote that acc
Page 73 and 74: In his critic Losskij writes that o
Page 75 and 76: According to Asaf’ev, to perceive
Page 77 and 78: continuity. 267 In order to underst
Page 79 and 80: consciousness inherent in the ordin
Page 81 and 82: orthodox that one may even question
Page 83 and 84: Russian operas. He concentrates on
Page 85 and 86: from the sphere of elements; elemen
Page 87 and 88: somekind of “liturgical” interp
Page 89 and 90: They contain views that were typica
Page 91 and 92: forties towards the Soviet cultural
Page 93 and 94: also to Realist tradition 332 . He
Page 95 and 96: 5. MUSICAL FORM AS A PROCESS AND TH
Page 97 and 98: verbal intonation because of the ab
Page 99 and 100: The discussion of a content of musi
Page 101 and 102: Works) (1952-1957). However, it was
Page 103 and 104: 100 phenomena into the area of arti
Page 105 and 106: 102 distinction is largely semantic
Page 107 and 108: 104 verbal speech had no need for i
Page 109 and 110: 106 be Asaf’ev’s topmost idea.
Page 111 and 112: 108 of 1940s. Was that his way of h
Page 113 and 114: 6. CONCLUSIONS 110 My Chapter of co
Page 115: 112 Chapter Five concludes that alt
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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