Soviet Music Criticism

苏联音乐批评

• 批准号: AH/F004524/1
• 负责人: Marina Frolova-Walker
• 金额: $ 2.61万
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF004524%2F1
• 关键词: Soviet; Music; Criticism

In the past few years, the main area of my research has been Soviet musical culture, and this research has not only materialized in several scholarly publications, but also informed my university teaching and my writings and lectures for wider audiences. One difficulty that has confronted me again and again is the serious lack of English translations of primary source material on Soviet music, which hampers not only undergraduates taking course in this area, but also graduate students, since even those working directly on Russian topics usually have insufficient Russian for searching through large expanses of archival material in a reasonable period of time. This continuing difficulty has prompted me to create a reader in Soviet music criticism for the period which is of great interest but little understood in the West, namely the 1920s. The period between the October Revolution of 1917 and the establishment of state run artists' unions in 1932 saw a flourishing of musical activity / modernist experiments, attempts at creating universal music education, and a very lively body of writing on music from diverse and often competing artistic factions. Many viewed the world around them as something they could freely remake according to their own needs, both on the level of grand artistic projects, and everyday attempts to beautify lives led in the difficult circumstances of the Civil War and the economic collapse it brought. Musicians debated the direction music should take, whether there should be a 'revolution in music' in the shape of a modernist rupture with tradition, or alternatively the creation of 'music for the Revolution', to embody new ideas and communicate them efficiently to the masses, in which case the medium could not afford to be forbiddingly new. As revolutionary hopes began to die, and artists began to compete for limited funds, the aesthetic debates became a struggle for the 'survival of the fittest', where internationalist modernists clashed with more inward-looking 'proletarianists' who prescribed a diet of revolutionary songs and marches for the masses. The background to these battles was a colourful musical life: Wagner's operas playing to enthusiastic but frozen audiences, former church composers making arrangements of the Internationale, avant-gardist 'noise' orchestras in the factories, pioneering work on electric instruments, together with visits from Bartók and Hindemith and the arrival of jazz. This teeming variety is expressed at different levels of sophistication, from the first hastily assembled ideas of the proletarianists to the rich and urbane work of early Soviet men of letters such as the Culture Minister Anatoly Lunacharsky or the outstanding music scholar Boris Asafyev.The wide range of material and the excitement of the period will ensure that the reader will be highly engaging not merely for a narrow circle of scholars, but for a much wider audience taking in all those interested in 20th-century Russian culture (the vast number of successful events across the world marking the Shostakovich centenary demonstrates just how large this audience is). The material presented will throw light upon a range of general issues, such as far-reaching educational reforms, or the progressive bureaucratic control of Soviet culture. Finally, a number of reviews will further illuminate the Soviet reception of Stravinsky, Prokofiev, and the young Shostakovich.Given the rapidly changing terrain, I have decided to organize the reader chronologically (year by year), rather than thematically. Each section will open with an introduction, chronicling the most important events of the year and providing the necessary context-setting for the chosen material. A substantial amount of detailed commentary will be available to readers in the footnotes, including information drawn from many archival sources.

在过去的几年里，我的主要研究领域是苏联音乐文化，这一研究不仅出现在几个学术出版物上，还为我的大学教学和我的写作和演讲提供了更广泛的受众。我一次又一次面临的一个困难是，关于苏联音乐的原始材料严重缺乏英文翻译，这不仅阻碍了学习这一领域课程的本科生，也阻碍了研究生，因为即使是那些直接研究俄罗斯主题的人，通常也没有足够的俄语在合理的时间内搜索大量的档案材料。这种持续的困难促使我为西方非常感兴趣但很少理解的那个时期，即20世纪20年代，创造了一本苏联音乐评论的读本。从1917年十月革命到1932年国营艺术家协会的建立，见证了音乐活动/现代主义实验的蓬勃发展，创造了普及音乐教育的尝试，以及来自不同且经常相互竞争的艺术派别的关于音乐的非常活跃的写作。许多人认为，他们可以根据自己的需要自由地重塑周围的世界，无论是在宏大的艺术项目层面上，还是在南北战争及其带来的经济崩溃的困难环境下，日常美化生活的努力都是如此。音乐家们争论着音乐应该走的方向，是应该以现代主义与传统决裂的形式来进行一场音乐革命，还是应该创造一种旨在体现新思想并有效地将其传达给大众的“为革命而创作的音乐”，在这种情况下，这种媒介承担不起令人望而却步的新事物。随着革命的希望开始破灭，艺术家们开始争夺有限的资金，美学辩论变成了一场“适者生存”的斗争，国际主义现代主义者与更内向的“无产阶级主义者”发生了冲突，后者为大众规定了革命歌曲和游行的饮食。这些战斗的背景是丰富多彩的音乐生活：瓦格纳的歌剧向热情但冰冷的观众演奏，前教会作曲家安排了国际歌，工厂里的前卫“噪音”管弦乐队，电子乐器的开创性工作，巴托克和辛德米特的来访，以及爵士乐的到来。这种丰富的多样性以不同的复杂程度表现出来，从无产阶级的第一批仓促组装的思想，到早期苏联文学家的丰富而文雅的作品，如文化部长阿纳托利·卢纳恰尔斯基或杰出的音乐学者鲍里斯·阿萨菲耶夫。广泛的材料和那个时期的兴奋将确保读者不仅对狭隘的学者圈子，而且对所有对20世纪俄罗斯文化感兴趣的更广泛的受众非常感兴趣(世界各地纪念肖斯塔科维奇百年诞辰的大量成功事件表明了这一群体的巨大规模)。介绍的材料将揭示一系列一般性问题，如影响深远的教育改革，或苏联文化的进步官僚控制。最后，一些评论将进一步阐明苏联对斯特拉文斯基、普罗科菲耶夫和年轻的肖斯塔科维奇的接受。考虑到快速变化的地形，我决定按时间顺序(每年)来组织读者，而不是按主题。每一节都将以导言开始，记录一年中最重要的事件，并为所选材料提供必要的背景设置。将在脚注中向读者提供大量详细的评论，包括从许多档案来源获得的信息。