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

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Table 1. The terms that defines socialist realism trough negation POSITIVE TERM NEGATIVE TERM Socialist realism The Western capitalistic art – ”dekadent” art SOCIALISM – gives everyone equal CAPITALISM – enslaves the artists basis for creating and perceiving art positive realism for the service of capitalistic machine and makes it a monopoly of the ruling class. formalism = modernism, abstractionism, avant-gardism Soviet nationalism -> universalism expressionism Bourgeois nationalism -> cosmopolitanism Critical Realism Bourgeois naturalism Classical tradition = Russian classical tradition classical tradition = elitism (The music of the Mighty Five) Normativism and ideology in art chaotic freedom in art = in capitalism = guarantees the true freedom the law of the demand and supply doesn’t guarantee the freedom of art folk music – ‘narod nost’ [peopleness or 'popular'] = popular culture = polluted by the reflection in music of psychological and realistic-living capitalist culture character of people’s lives. 31
Table 3. HISTORICAL FORMATION History of the concept Formation of the content (Formation of socialist realist rhetoric) – Critical realism 1. Philosophy: Marx, Engels, the Russian “pre-Marxists” of the 10 th m y t o l o g y century: Bellinskij, Černicevskij, – Appeared for the first time in 1932 __ Dobroljubov, etc. in a journal Literaturnaja gazeta e 2. Literature: m p i r – It was announced as the states’ i s 19th century critical realism 20th century Russian modernists 3. Political level: official aesthetical method m Party in the first meeting of the a) 1917-1928 Lenin, Lunačarski, Soviet writers 1934. Party representatives and theoreticians. b) 1932--> Stalin, Zhdanov, other partyminded theoreticians. 4. Musical level: a) Proletkult, ASM, RAPM b) The Union of Composers USSR 5. Society: Artistic society, public 32
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 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: confusingly obscure and dependent o
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
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
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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
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 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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