LEADER 03964nam 22006614a 450 001 9910821427303321 005 20240416191225.0 010 $a1-282-86049-6 010 $a9786612860492 010 $a0-7735-7024-1 024 7 $a10.1515/9780773570245 035 $a(CKB)1000000000244892 035 $a(SSID)ssj0000279215 035 $a(PQKBManifestationID)11211552 035 $a(PQKBTitleCode)TC0000279215 035 $a(PQKBWorkID)10261146 035 $a(PQKB)10302336 035 $a(CaPaEBR)400116 035 $a(CaBNvSL)gtp00521396 035 $a(Au-PeEL)EBL3330733 035 $a(CaPaEBR)ebr10132916 035 $a(CaONFJC)MIL286049 035 $a(OCoLC)929120938 035 $a(VaAlCD)20.500.12592/drwn53 035 $a(schport)gibson_crkn/2009-12-01/1/400116 035 $a(MiAaPQ)EBC3330733 035 $a(DE-B1597)655772 035 $a(DE-B1597)9780773570245 035 $a(MiAaPQ)EBC3243544 035 $a(EXLCZ)991000000000244892 100 $a20030508d2002 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aEstrada?! $egrand narratives and the philosophy of the Russian popular song since Perestroika /$fDavid MacFadyen 205 $a1st ed. 210 $aMontreal ;$aIthaca $cMcGill-Queen's University Press$dc2002 215 $a254 p. $cill 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7735-2371-5 320 $aIncludes audio-visual sources (p. [202]-209), bibliographical references, and index. 327 $tFront Matter -- $tContents -- $tAcknowledgments -- $tIntroduction: What is this Book About? -- $tFour Predicaments -- $tThe Decline of a Soviet Repertorie -- $tThe Absence of Ideology -- $tPerformers' Untutored Upbringing -- $tDirectorial Work on the Stage and on the Road -- $tEvidence of Two Solutions -- $tAudio: The Sound of Music and Mutation -- $tVideo: Estrada on Film Since Perestroika -- $tRussian Popular Culture After 1982: The Big Picture -- $t?Why Am I Singing Now?? Grand Narratives and Their Hard-Working Survivors -- $tConclusion: Only the Sentimental and Industrious Can Endure -- $tAppendices -- $tBiographies -- $tAudio-Visual Sources -- $tNotes -- $tIndex 330 $aIn Estrada?!, the second volume of a three-part series on Russian popular song, David MacFadyen extends his overview of Russian culture and society into the post-Soviet period. Having dispelled several myths surrounding Soviet popular entertainment - known as "estrada" or the "small stage" - in Red Stars, MacFadyen shifts his attention to a newer musical tradition that has emerged from the simultaneous disappearance of Soviet ideology and the loud influx of western music. The author shows how performance, popularity, and politics have all changed rapidly in Russia following the fall of communism. He highlights the troubled state of Soviet music journalism in the eighties, the deteriorating standards of staging, and the problems of developing a "proper" post-Soviet repertoire given the weakened relevance of songs as propaganda and the tenuous value of an old-style "sentimental education" that performers hoped to offer audiences. MacFadyen shows that for Russia's most famous performers today singing is still a responsibility of both private and public relevance. Even in post-Soviet Europe, song remains the most profoundly consequential of art forms. 606 $aPopular music$zSoviet Union$y1981-1990$xHistory and criticism 606 $aPopular music$zRussia (Federation)$y1991-2000$xHistory and criticism 615 0$aPopular music$xHistory and criticism. 615 0$aPopular music$xHistory and criticism. 676 $a782.42164/0947/0904 700 $aMacFadyen$b David$f1964-$01594436 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910821427303321 996 $aEstrada?$94002931 997 $aUNINA