LEADER 04475nam 22005415 450 001 9910494650503321 005 20211020220239.0 010 $a0-520-96315-6 024 7 $a10.1525/9780520963153 035 $a(CKB)3710000000820227 035 $a(PQKBManifestationID)16330480 035 $a(PQKBWorkID)14908632 035 $a(PQKB)21721506 035 $a(MiAaPQ)EBC4305559 035 $a(StDuBDS)EDZ0001665482 035 $a(OCoLC)939277870 035 $a(MdBmJHUP)muse51687 035 $a(DE-B1597)518648 035 $a(DE-B1597)9780520963153 035 $a(EXLCZ)993710000000820227 100 $a20200424h20162016 fg 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRussian Music at Home and Abroad$eNew Essays /$fRichard Taruskin 210 1$aBerkeley, CA :$cUniversity of California Press,$d[2016] 210 4$d©2016 215 $a1 online resource (557 pages) 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-520-28809-2 311 0 $a0-520-28808-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tCONTENTS --$tPREFACE --$tIntroduction: My Wonderful World; or, Dismembering the Triad --$t1. Non-Nationalists, and Other Nationalists --$t2. Revenants --$t3. Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Th ink, and Does It Matter? --$t4. Catching Up with Rimsky-Korsakov --$t5. Not Modern and Loving It --$t6. Written for Elephants: Notes on Rach 3 --$t7. Is There a "Russia Abroad" in Music? --$t8. Turania Revisited, with Lourié My Guide --$t9. The Ghetto and the Imperium --$t10. Two Serendipities: Keynoting a Conference, "Music and Power" --$t11. What's an Awful Song Like You Doing in a Nice Piece Like This? The Finale in Prokofieff 's Symphony- Concerto, Op. 125 --$t12. The Birth of Contemporary Russia out of the Spirit of Music (Not) --$t13. Just How Russian Was Stravinsky? --$t14. How The Rite Became Possible --$t15. Diaghilev without Stravinsky? Stravinsky without Diaghilev? --$t16. Resisting The Rite --$t17. Stravinsky's Poetics and Russian Music --$t18. Did He Mean It? --$t19. In Stravinsky's Songs, the True Man, No Ghostwriters --$t20. "Un Cadeau Très Macabre" --$tINDEX 330 $aThis new collection views Russian music through the Greek triad of "the Good, the True, and the Beautiful" to investigate how the idea of ";nation"; embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much of the volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; and to the tension between the compelling artistic quality of works such as Stravinsky's Sacre du Printemps or Prokofieff's Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskin's authority and ability to bring living history out of the shadows. 606 $aMusic$zRussia$xHistory and criticism 608 $aElectronic books. 615 0$aMusic$xHistory and criticism. 676 $a780.947 700 $aTaruskin$b Richard$4aut$4http://id.loc.gov/vocabulary/relators/aut$0607112 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910494650503321 996 $aRussian Music at Home and Abroad$92446406 997 $aUNINA 999 $p$127.50$u06/14/2018$5Music