The Ways of Freedom: Experimental Music in Leningrad/St. Petersburg, 1980-1996

自由之路：列宁格勒/圣彼得堡的实验音乐

• 批准号: 2571417
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2571417
• 关键词: Ways; Freedom; Experimental; Music; Leningrad

This project aims to explore the cultural and (bio)political significance of late and post-Soviet improvised music by following the career of improviser, composer and avant-garde pianist Sergei Kurekhin, and his circle. Following his first solo release, The Ways of Freedom, in 1981, Kurekhin became a key figure in the informal music culture of Leningrad/St. Petersburg until his death in 1996. Kurekhin is best known as leader of Pop Mechanics, a spontaneous ensemble known for its absurd theatrics, ever-fluctuating membership, and shifting of styles within single performances; fusing high- and low-brow, old and new, in an eclectic collage that emphasised the 'in-between' Pop Mechanics represent a significant number of improvisers of the 1980s Leningrad scene, as many were, at one time, part of the ensemble. Additionally, the temporal span of Kurekhin's output offers a perfect lens through which to better understand cultural production during perestroika and after the fall of the Soviet Union - a period noted to have received little attention (Etkind 2014). Studying Kurekhin's milieu offers new insight into Soviet decline and illuminates the cultural shift that followed.In the only text to discuss Kurekhin's cultural output (regarding his personal engagement with news media), Yurchak writes that the 'history and analysis' of Kurekhin's 'remarkable artistic project still awaits its author' (2011:311) - a lacuna I aim to fill. The absence of Kurekhin from musicological scholarshipmakes this project fertile for new insight. There are numerous historiographies of experimental music (Piekut 2011, Adlington 2013, Born et al. 2017), yet these are focussed explicitly on Western Europe and U.S. contexts. By extending research into a Russian context, this project aims to widen experimentalist scholarship outside of its current borders. I aim to advance these understandings by following Kurekhin's career with a similar critical background to Yurchak (2006), focussed towards music/sound. In musicology, Schmelz (2009) has utilised Yurchak's concepts as starting points for his analysis of Soviet composers - though limited only to the genre of art music. Thus, Schmelz's research, while relevant, significantly differs in scope to this project.Recent literature (Piekut 2019) has begun to analyse the 'vernacular avant-garde', referring to artists 'not entirely delinked from the literate establishment,' that occupy 'a zone distinct from it' (Levitz and Piekut 2020). There is significant unexplored overlap with Yurchak's underlying concept of vnye ('inside/outside') that defines the liminal experience of late-Soviet life. The music of Kurekhin is situated perfectly to expand, advance and investigate both concepts. Through studying the biopolitical indistinction of Kurekhin's music, I will advance the vernacular avant-garde as a stable concept useful for analysis, that, whilst emanating from a the particular, can reflect back on avant-garde performance writ large.In advancing the first study of Kurekhin's musical milieu, I aim to:* Identify how the liminal social aesthetic of Kurekhin's oeuvre produced (bio)political subversion in the music-itself, performance, and performer interactions; to connect, advance and problematise biopolitical literature to sound/music studies.* Investigate Kurekhin's influence of Futurists (such as Mayakovsky). When no (post-)soviet future was imaginable (Yurchak 2006), Kurekhin's engagement with 'past-futures' inform us of artistic solutions to Soviet totality.* Examine Kurekhin's shift towards Nationalism in the 1990s; to find the limits of ironic (musical) subversion (oft cited as an inherently radical genre, Wilmer 2020), and locate a distinction between late and post-Soviet culture.* Explore the influences of non-Soviet artists on Kurekhin - from Cage (USA) to Einsturzende Neubauten Germany) - to situate 'Russian music in a World Context', as called for by Frolova-Walker (2018).

该项目旨在通过关注即兴演奏家，作曲家和前卫钢琴家Sergei Kurekhin和他的圈子的职业，探索最近和后苏联精美音乐的文化和（生物）政治意义。在他的第一个个人发行后，库雷金（Kurekhin）在1981年的自由方式中成为列宁格勒/街（Leningrad/ST）非正式音乐文化的关键人物。彼得斯堡直到1996年去世。库尔金（Kurekhin）最著名的是流行力学领袖，这是一个自发的合奏，以其荒谬的戏剧，持久的会员资格和单一表演中的风格转移而闻名。在折衷的拼贴画中融合了高眉，新旧的，强调“中间”的流行力学代表了1980年代列宁格勒场景的大量即兴演奏，就像许多人一次，一部分是一部分。此外，库尔金（Kurekhin）产出的时间跨度提供了完美的镜头，可以通过该镜头更好地了解Perestroika期间和苏联倒塌之后的文化生产 - 这一时期很少受到关注（Etkind 2014）。 Studying Kurekhin's milieu offers new insight into Soviet decline and illuminates the cultural shift that followed.In the only text to discuss Kurekhin's cultural output (regarding his personal engagement with news media), Yurchak writes that the 'history and analysis' of Kurekhin's 'remarkable artistic project still awaits its author' (2011:311) - a lacuna I aim to fill.音乐学奖学金中缺乏库雷金（Kurekhin），这个项目肥沃的新见解。有许多实验音乐史学（Piekut 2011，Adlington 2013，Born etal。2017），但这些史显着地集中在西欧和美国的情况上。通过将研究扩展到俄罗斯环境中，该项目旨在扩大其当前边界之外的实验性奖学金。我的目标是通过遵循与Yurchak（2006）类似的批判背景的Kurekhin的职业来推进这些理解，该背景专注于音乐/声音。在音乐学方面，施梅尔斯（Schmelz，2009年）将尤尔恰克的概念作为对苏联作曲家分析的起点，尽管仅限于艺术音乐的流派。因此，施梅尔斯的研究虽然相关，但在这个项目的范围方面有着明显的不同。文学（Piekut 2019）开始分析“白话前卫”，这是指与文明的机构完全脱节的“占据与识字型”的脱节，从而占据了与之不同的区域'（Levitz and levitz and piekut 2020）。与Yurchak的基本概念（“内部/外部”）定义了晚期苏联生活的界限经验，这有很大的重叠。库雷金（Kurekhin）的音乐位置非常适合扩展，进步和调查这两个概念。通过研究Kurekhin音乐的生物政治性，我将促进白话前卫作为一个有用的稳定概念，可用于分析，尽管从特定的角度出发，但可以反思前卫的表现。 （生物）音乐，表演和表演者互动中的政治颠覆；为了将生物政治文学与声音/音乐研究联系起来。*研究Kurekhin对未来主义者的影响（例如Mayakovsky）。当没有（后）苏联的未来是可以想象的（Yurchak，2006年）时，库尔金（Kurekhin）与“过去的事物”的互动将我们的艺术解决方案告知了苏联全部的艺术解决方案。要找到讽刺（音乐）颠覆的极限（通常被引用为一种固有的激进体裁，威尔默2020年），并找到了晚期和后苏联文化之间的区别。 （2018）。