1917 and Beyond
Continuity, Rupture and Memory in Russian Music

Edited by Philip Ross Bullock and Pauline Fairclough

Slavonic and East European Review 97.1

Modern Humanities Research Association and the School of Slavonic and East European Studies, University College London

17 January 2019

ISBN: 978-1-781888-96-4 (paperback)

ISBN: 978-1-781889-53-4 (paperback)  •  RRP £15, $20, €17.50

Access online: At JSTOR


Long before the commemoration of the 100th anniversary of the Russian Revolution in 2017, scholars of Russia and the Soviet Union had questioned the notion that 1917 might constitute some kind of single, decisive rupture, whether in historiography or history itself. In particular, historians have come to see the October Revolution as an expression of Russia’s broader experience of modernity, revealing continuities between Imperial Russia and what was to become the Soviet Union, disputing narratives of exceptionalism, and proposing affinities with models of social development arguably more characteristic of Western European countries.

Taking inspiration from a body of scholarship which has problematized the question of how the aesthetic values of the 1920s gave way to what became Socialist Realism, as well as work which has challenged an entrenched divide between the Victorian era and modernism in English literary studies, this collection ranges widely over genres – opera, symphonic music, song – combines complementary methodological approaches – reception studies, cultural memory, librettology, intellectual history – and invokes not only the October Revolution, but other widely cited turning points in Russian history – romanticism into realism, cultural revolution, the Great Patriotic War, perestroika and the post-Soviet landscape, to suggest significant continuities.

This volume is available both as a stand-alone paperback book (978-1-78188-953-4) and an issue of the journal (978-1-78188-896-4).

Philip Ross Bullock is Professor of Russian Literature and Music at the University of Oxford, and Fellow and Tutor in Russian at Wadham College, Oxford, and Pauline Fairclough is Professor of Music at the University of Bristol.

Contents:

1-8
1917 and Beyond: Continuity, Rupture and Memory in Russian Music
Philip Bullock, Pauline Fairclough
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9-38
Personal Friendships, Professional Manoeuvres: Edward Elgar in Russia before and after 1917
Pauline Fairclough
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39-72
Revolutionaries or Delinquents: The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia
James Taylor
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73-109
How Soviet Musicology became Marxist
Olga Panteleeva
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110-135
The Birth of the Soviet Romance from the Spirit of Russian Modernism
Philip Bullock
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136-168
In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917
Rebecca Mitchell
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169-200
To What End Rusalka? Pushkin's Folk Tragedy and Dargomyzhskii's Opera
Caryl Emerson
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Rights to this title are held by School of Slavonic and East European Studies, University College London.


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