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Creative Union : The Professional Organization of Soviet Composers, 1939–1953 / Kiril Tomoff.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©2006Description: 1 online resource (336 p.) : 12 tablesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501730023
Subject(s): DDC classification:
  • 780.6047 23
LOC classification:
  • ML3917.R8
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Introduction -- Part I: The Professional Organization Of Soviet Composers -- 1. The Formation Of The Composers' Union, 1932-41 -- 2. Administering The Creative Process -- 3. Composers On The March, 1941-45 -- Part II: Profession And Power, 1946-53 -- 4. Zhdanovshchina And The Ogolevets Affair -- 5. Brouhaha! Party Intervention And Professional Consolidation, 1948 -- 6. Anticosmopolitanism And The Music Profession, 1949-53 -- 7. The Results Of Party Intervention -- Part III: Professionals And The Stalinist Cultural Elite -- 8. Muzfond, Royalties, And Popularity -- 9. Elite Hierarchies -- 10. "Most Respected Comrade...": Informal Networks In The Stalinist Music World -- Conclusion -- Bibliography -- Index
Summary: Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres.Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501730023

Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Introduction -- Part I: The Professional Organization Of Soviet Composers -- 1. The Formation Of The Composers' Union, 1932-41 -- 2. Administering The Creative Process -- 3. Composers On The March, 1941-45 -- Part II: Profession And Power, 1946-53 -- 4. Zhdanovshchina And The Ogolevets Affair -- 5. Brouhaha! Party Intervention And Professional Consolidation, 1948 -- 6. Anticosmopolitanism And The Music Profession, 1949-53 -- 7. The Results Of Party Intervention -- Part III: Professionals And The Stalinist Cultural Elite -- 8. Muzfond, Royalties, And Popularity -- 9. Elite Hierarchies -- 10. "Most Respected Comrade...": Informal Networks In The Stalinist Music World -- Conclusion -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres.Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)