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

Index
1. INTRODUCTION
1.1 About the Method of the Work..............................................................................2
1.2 About the Content of the Work..............................................................................4
2. IDEOLOGICAL AND PHILOSOPHICAL TENDENCIES IN RUSSIAN
ARTISTIC SOCIETY AT THE BEGINNING OF THE 20 th CENTURY
2.1 Russian Modernists.............................................................................................9
2.2 The Concept of Socialist Realism.....................................................................13
2.2.1 Socialist Realism as a System and Through Historical Formation..........15
2.2.1.1 Socialist Realism as a Totalitalian Sytem.....................................17
2.2.1.2 Socialist Realism as an Ideology...................................................19
2.2.2 Socialist Realism in Music.......................................................................20
2.2.2.1 Organizational Formation and the Dispute over the New
Aesthetics...................................................................................................22
2.2.2.2 The New Musical Aesthetics........................................................27
3. BORIS VLADIMIROVIČ ASAF’EV’S LIFE AND THE SOVIET MUSICOLOGY
3.1 A Short Biography............................................................................................34
3.2 Boris Asaf’ev and the Soviet Musicology in Growth.......................................42
3.3 The Political Dimension of Boris Asaf’ev........................................................46
4. THE FIRST LITERARY PERIOD OF BORIS ASAF’EV (IGOR GLEBOV)
ITS PHILOSOPHICAL BASIS
4.1 The Philosophical and Theoretical Roots of Boris Asaf’ev..............................50
4.1.1 Symbolism and Music: Andrej Belyj and Boris Asaf’ev –
the Problem of Interchange of Terminology.............................................55
4.1.2 Theodor Lipps and Včuvstvovanie............................................................58
4.1.3 The Intuitive Philosophy of Henri Bergson and Nikolaj Losskij.............65
4.2 The Early Articles and the Development of Asaf’ev’s
Musical Language..............................................................................................73
4.3 Symphonic Etudes – A Collection of Articles on Russian Music......................78
4.3.1 Synthesis...................................................................................................79
4.3.2 Symbolist Reflections: Music and Poetry, Art and Religion....................82
4.4 Asaf’ev’s Relationship to Modern Music – A Book about Stravinsky...............85
5. MUSICAL FORM AS A PROCESS AND THE SECOND LITERARY PERIOD
5.1 Musical Form as a Process (Book I).................................................................92