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

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Sollertinskij, Ivan (1902–1944) Soviet musicologist. A pupil of Asaf'ev. Solov’ev, Vladimir (1853–1900) famous Russian thinker, poet and a philosopher. Major influence on the second generation of Symbolists. Stasov, Vladimir (1824–1906) the most famous Russian art critic of 19 th Century. Friend of the Balakirec circle and propagandist of their music. He fought against academism in art, supporting realist way of thought. Stalin, Josif (1879–1953) Soviet politician and a famous tyrant. Stravinskij, Igor (1882–1971) Russian composer. Before the first world war he left Russia for Paris, since 1939 lived in the USA. A quintessentially cosmopolitan Russian, Stravinsky was one of the most authoritative composers in 20th century music, both in the West and in his native land. Strek’nikov, Nikolaj Mihajlovič (born Menzenkampf-Strel'nikov) (1888–1939) Russian composer, music critic and a director. He is known as one of the founders of Soviet operet. He also had a career as a jurist in the field of the labor law. Suvčinskij, Pjotr P. (1892–1985) Russian musicologist. He founded a journal Muzykal’nyj Sovremennik with A. Rimskij-Korsakov. His articles were published in Melos. Emigrated in 1920 to Paris. Tanejev, Sergej (1856–1915) Russian composer, music theoretician and teacher. A major influence on the generations of Russian musicians. Tjulin, Jurij (1893–1978) Soviet musicologist, teacher and a compositor. Tynjanov, Juri (1894–1943) Russian Soviet prosaist. Vvedenskij, Aleksandr Ivanovič (1856–1925) Russian neo-Kantian philosopher and psychologist. Čajkovskij, Pjotr (1840–1893) Russian composer. Čerepin, Nikolaj Nikolajevič (1873–1945) composer, director and a pedagogue who from the juridical faculty of University of St. Petersburg and St. Petersburg’s Conservatory. He worked as a director at the Marinskij during 1906–1909. He was a member of Beljaev circle and Večera sovremennoj muzyki [The Evenings of Contemporary Music]. He also contributed the group Mir Isskustva and founded the Tbilisi Conservatory. Čerepin emigrated in 1921 and founded a Russian Conservatory in Paris in 1925. Šaljapin, Fedor (1873–1938) world famous bass singer at the Marinskij Theater. Friend of Stasov, etc. Šklovskij, Viktor (1893–1984) Russian Formalist scholar and prosaist. Šostakovič (1906–1975) one of the foremost modern Soviet composers, pianist. Ščerbačev, Vladimir (1889−1952) Soviet musicogist, director and compositor. Functioned once also as the head of St. Petersbur Union of composers. 123
Trotskij, Lev Davydovič (born Bronštejn) (1879–1940) Russian politician and a writer. Moved from the Menševik faction to Bolsheviks around 1917. Contradictions with Stalin led to exile, until Stalin's agents murdered him in Mexico. List of Journals Muzyka [Music] a Muscovite weekly musical journal that appeared in 1910. Asaf’ev started his career as a music critic writing to that journal first. One of the redactors was his old friend from Conservatory Nikolaj Jakovlevič Mjaskovskij. Muzykal’nyj Sovremennik [Musical Contemporary] a musical journal edited by Andrej Rimskij- Korsakov. Žhizn’ Isskustva [Life of Art] the official journal of Narkompros. K Novim Beregam a Muscovite journal (1923) Oktjabr i revolucija [October and Revolution] (1927) a journal of LASM Muzykalnaja kul’tura [Musical Culture] a journal published by ASM and edited by Rozlavec. Three numbers were published in 1924. Sovremennaja muzyka [Contemporary Music] a journal published by ASM. Established in 1924 and abandoned in 1929 after thirty numbers had appeared. Muzykal’naja Nov’ [Virgin Soil of Music] a journal published by RAPM in 1923–24 Muzyka i Oktjabr’ [Music and October] a journal published by RAPM in 1926 Muzyka i Revoljucija [Music and Revolution] a journal published by ORKMID in 1926–1929. Initially edited by Lev Šul'gin. Muzikal’noe obrazovanie [Musical Education] a journal published by the Moscow Concervatory in 1926–1930. It was proclaimed as an independent journal of intelligentsia. Proletarskij muzykant [Proletarian Musicant] a journal published by RAPM in 1929–1932. Za proletarskuju muzyku [For Proletarian Music] a popular journal published by RAPM in 1930– 1932 Sovetskaja muzyka [Soviet Music] a monthly journal of Soviet Composers’ Union in 1933–1992, After the year of 1992 the journal has appeared every third month and renamed as Muzikal’naja Akademia. 124
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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
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manifested, for instance, in Byzant
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constructed in the circumstances of
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distorted the phenomena of continui
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motion 248 . Losskij wrote that acc
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In his critic Losskij writes that o
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Page 89 and 90: They contain views that were typica
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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 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: Ostwald, Wilhelm (1853-1932) German
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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