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

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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
5.2 The Second Literary Period: Intonation (Book II)............................................97 5.2.1 Asaf’ev’s Intonation in Process...............................................................98 5.2.2 Intonation in Intonation.........................................................................101 5.2.3 Speculations...........................................................................................104 6. CONCLUSIONS......................................................................................................110 APPENDIXIES: 1. Note on Transliteration.............................................................................................113 2. List of some of the Notable Works of Asaf’ev in Chronological Order...................114 3. Note on Abbreviations of Quoted Material..............................................................115 4. Abbreviations............................................................................................................116 5. List of Names............................................................................................................117 6. List of Journals..........................................................................................................123 BIBLIOGRAPHY.........................................................................................................125
Page 1: ORIS aSAF’EV AND THE sOVIET mUSIC
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 and 16: them to some degree in 1918-1919, h
Page 17 and 18: produced’, or as ‘the socialist
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
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aesthetically and not according to
Page 57 and 58:
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
Page 63 and 64:
As Orlova has noted Lipps has a cle
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manifested, for instance, in Byzant
Page 67 and 68:
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
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
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Tull, James R. B. V. Asaf’ev’s
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Harrison, Charles & Wood, Paul. Art
Page 135 and 136:
Reader, Melvin, ed. A Modern Book o
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