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

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Suni has defined Russian Formalism as a linguistic and semiotic oriented text centered poetics, which views its object (the language and meanings of art) mainly, although not only as an independent artefact. He writes that Formalists view of the literature was at first phonetic, synchronic and reductive. Their picture of the means of art was quite static and mechanistic. However they soon moved from poetry to prose and attained more semantic and stylistic aspect. This change developed their theory formation into more functional and dynamic direction, and soon they adopted also a diachronical aspect. Formalist evolutionary theory emphasized the independency of development and inner dialetics of every artform. According to them art rather realizes and recreates its own laws than “reflects” the surrounding reality or reacts to its changes. The means of art do not necessary change, but their functions i.e., the relations of form and material change constantly. Thus art shows life over and over again and its value is endless. 35 The name “Formalism” was applied to the scholars later because they were seen to undervalue the content of the literature. In reality they rejected the traditional view of the form as an opposite to the content. Formalists consisted of two groups The Moscow Linguistic Circle (1915) and the Petrograd-based Opojaz 36 (1916) (Society for the Study of Poetic Language). The early representatives were Roman Jakobson (1896–1982), Lev Jakubinskij (1892–1945), Viktor Šklovskij (1893–1984), Boris Ejhenbaum (1886– 1959), Osip Brik (1888–1945) and Juri Tynjanov (1894–1943). 37 Formalism became a swearword in the Soviet Union. However, most of the acculsations of their critics were groundless and bitter because they formed a threat to the Marxit-Leninist understanding of history. Many of the early critics of Formalism such as Lunačargskij and Lev Trotskij (1879–1940) recognized their technical strength but rejected their worldview. 38 2.2. The Concept of Socialist Realism The given statements at the Soviet aesthetical literature define socialist realism as ‘a creative method, through which the socialist art and the culture of socialist state is 35 Suni 2001, pp. 17–18, 22. 36 Society of the study of the theory of poetic language, OPOJAZ (Obščestvo izučenija teorii poetičeskogo jazyka. See . 37 Ibid., p. 8; Eagle 1988, pp. 281–282. 38 Suni 2001, pp. 19–20. 13
produced’, or as ‘the socialist art that is based on the Marxist-Leninist aesthetics and philosophy’. 39 However, the modern understanding of the concept is much wider and complex. Recent studies have not anymore limited themselves in understanding Soviet aesthetics as a strictly political historical phenomenon i.e., ‘the artistic system that was guided by the party’. Moreover they have concentrated on the own immanent logic of Soviet aesthetics. 40 I have divided the study on socialist realism into two main approaches (see the Table 1.) through which I attempt to show that socialist realism can be understood from different points of views and on different levels. None of the views listed here are complete or satisfactory without each other. Moreover they are complementary in order to portray the full picture of socialist realism as a large cultural phenomenon. Table 1. socialist realism Objective Influences Historical information Mythological influences Soviet culture System Theoretical method 39 According to Soviet aesthetic theoretician Avner Zis, the basis of realist method is in the wide sense of the term to portray the object truthfully and realistically; it has to correspond with the life. In the Narrow sense it refers to the 19 th Century concrete-historical artistic movement and the creative method peculiar to it. (Zis 1976, pp. 206, 212, 265; see also Marxist-Leninist Aesthetics and Arts 1980.) 40 Gutkin has done some account about the studies on socialist realism. An essential scholars that changed the nature og the study were Katerina Clark (1985), Boris Groys (1990) and Regine Robin (1992). (Gutkin 1999, pp. 1–4.) 14
Page 1 and 2: ORIS aSAF’EV AND THE sOVIET mUSIC
Page 3 and 4: 5.2 The Second Literary Period: Int
Page 5 and 6: the aesthetical and musico-theoreti
Page 7 and 8: Haas has noted: he used “shaky an
Page 9 and 10: “leftist” 11 mark on his works
Page 11 and 12: The Chapter Four and Chapter Five f
Page 13 and 14: The younger generation, Aleksander
Page 15: them to some degree in 1918-1919, h
Page 19 and 20: conservative writers. 43 This aspec
Page 21 and 22: authorities and formulators of soci
Page 23 and 24: control the society according to th
Page 25 and 26: and “neo-nationalist” Igor Stra
Page 27 and 28: “mass songs” with ideological t
Page 29 and 30: possible. As a composer you could n
Page 31 and 32: thoughts is to be given, living tra
Page 33 and 34: confusingly obscure and dependent o
Page 35 and 36: Table 3. HISTORICAL FORMATION Histo
Page 37 and 38: 3. BORIS VLADIMIROVIČ ASAF’EV’
Page 39 and 40: Iskusstvo (The World of Art) 108 an
Page 41 and 42: ”Soblazny i preodolenija” (Temp
Page 43 and 44: can one compare these works with th
Page 45 and 46: Soviet Composers. The new directora
Page 47 and 48: Asaf’ev emphasized musicology as
Page 49 and 50: content of musical art. 162 McQuere
Page 51 and 52: A cause of many negative traits was
Page 53 and 54: 4. THE FIRST LITERARY PERIOD OF BOR
Page 55 and 56: aesthetically and not according to
Page 57 and 58: ecause of his personal gifts. 191 L
Page 59 and 60: when exploring the “Symbolists’
Page 61 and 62: Asaf’ev’s writing contains same
Page 63 and 64: As Orlova has noted Lipps has a cle
Page 65 and 66: 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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According to Asaf’ev, to perceive
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continuity. 267 In order to underst
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consciousness inherent in the ordin
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orthodox that one may even question
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Russian operas. He concentrates on
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from the sphere of elements; elemen
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somekind of “liturgical” interp
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They contain views that were typica
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forties towards the Soviet cultural
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also to Realist tradition 332 . He
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5. MUSICAL FORM AS A PROCESS AND TH
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verbal intonation because of the ab
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The discussion of a content of musi
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Works) (1952-1957). However, it was
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100 phenomena into the area of arti
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102 distinction is largely semantic
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104 verbal speech had no need for i
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106 be Asaf’ev’s topmost idea.
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108 of 1940s. Was that his way of h
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6. CONCLUSIONS 110 My Chapter of co
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112 Chapter Five concludes that alt
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List of some of the Notable Works o
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116 ASM (Associcija Sovremennoj Muz
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Berg, Alban (1885-1935) Austrian co
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Javorskij, Boleslav (1877-1942) gra
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Ostwald, Wilhelm (1853-1932) German
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Trotskij, Lev Davydovič (born Bron
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Asaf’ev, Boris V. Russkaja živop
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Tull, James R. B. V. Asaf’ev’s
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Harrison, Charles & Wood, Paul. Art
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Reader, Melvin, ed. A Modern Book o
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Boris Asaf'ev and the Soviet Musicology - E-thesis

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