Classics for the Masses

Fairclough, Pauline

doi:10.12987/yale/9780300217193.001.0001

Cited by 92 publications

(5 citation statements)

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“…Pauline Fairclough has shown that following the Central Committee's interventions in 1946 and 1948, concert programming at the Soviet Union's leading Philharmonias went through the last phases of a marked shift that drastically limited even those Western classics that had been promoted in the 1930s, replacing them with Russian classics. 41 Fairclough's finding is consistent with a broader, well-documented Russocentric shift in popular culture and propaganda that became dominant during the years covered by this study. 42 Furthermore, Marina Frolova-Walker has convincingly demonstrated that the Stalin Prize in music, the prize designed to construct a Soviet musical canon, put music in a 'national style, often based on folk themes' at the core of that canon.…”

Section: Resultssupporting

confidence: 87%

Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union

Tomoff¹

2018

OPR

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This article utilises a nearly unique collection of material (theatre box office data) and the reports of Soviet bureaucrats charged with overseeing musical theatre to analyse the programming and reception of operetta performed in the Soviet Union from 1945 to 1948, a period during which Soviet society shifted from world war to Cold War, and music, musical life and musical theatres underwent ideological scrutiny and endured intervention by the Communist Party’s Central Committee. It argues that although official programming and audience preferences were rarely in sync, their disjuncture followed a surprising pattern according to which Russian operetta-going audiences proved both more conservative and more patriotic than those responsible for the programming in operetta theatres. Marked differences between this Russian pattern and patterns observable in other republics – Ukraine gets particular attention – also attest to the diversity of taste and official ambitions for musical programming in the postwar Soviet Union.

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Section: Resultssupporting

confidence: 87%

Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union

Tomoff¹

2018

OPR

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“…Tendo em vista que os textos, literários ou não, constroem e representam identidades de gênero e sexualidade 10 e que tais textos são produtos de práticas sociais e discursivas particulares, 11 para embasarmos nosso processo tradutório, a abordagem da ACD será utilizada. 12 Surgida na década de 1980, a perspectiva discursiva da tradução destaca a linguagem em uso e, consequentemente, concebe o discurso como "elemento integrante das relações sociais de uma cultura".…”

Section: Convém Destacarmos Que Aunclassified

O mito de Ganimedes: considerações sobre o mito em Biblioteca de Pseudo-Apolodoro e Metamorfoses de Ovídio

Souza,

Mota,

Santos

2023

CPC

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Cada vez mais as construções discursivas que constroem as identidades homoeróticas vêm sendo estudadas no âmbito acadêmico. O objetivo geral do presente artigo é compreender a construção da identidade masculina homoerótica na representação do mito de Ganimedes apresentado em Biblioteca de Pseudo-Apolodoro e em Metamorfoses de Ovídio. Faremos a tradução do corpus visando à análise linguística e estilístico-literária do texto grego e do texto latino e faremos uma comparação entre os dois autores observando como as construções discursivas forjam as identidades homoeróticas naquele mito. Nosso método de pesquisa é pautado pela Análise Crítica do Discurso de Norman Fairclough e pela análise comparativa de Tânia Franco Carvalhal acerca da Literatura Comparada.

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“…She notes that "between approximately 1926 and 1936 … it was Western rather than Russian classics that held sway: Bach, Handel, Mozart and Beethoven were the icons of the mid to late 1930s, and their replacement with Chaykovskiy, the kuchka and Glinka took place surprisingly late in the decade." 38 Bach, in particular, was heavily lauded, despite his dedication to sacred music. His star rose in part because of a reevaluation of his work that accompanied the celebrations of the 250th anniversary of his (and Handel's) birth in 1935.…”

Section: High or Low? Russian Or Not?mentioning

confidence: 99%

"Music is Music": Anton Ivanovich is Upset (1941) and Soviet Musical Politics

Kupfer¹

2018

Music and Politics

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In this article I analyze the musical politics of the 1941 Soviet film Anton Ivanovich serditsya (Anton Ivanovich Is Upset), directed by Aleksandr Ivanovsky, original score by Dmitry Kabalevsky. The film tells the story of the musical "enlightenment" of the eponymous Anton Ivanovich Voronov, an old, stodgy organ professor who is interested only in the "serious" music of J.S. Bach. His daughter, Sima, however, wishes to become an operetta singer and falls in love with a composer of "light" music, Aleksey Mukhin, which upsets the professor greatly. Thanks to a miraculous intervention by Bach himself, Anton Ivanovich ultimately sees his error and accepts Muhkin, going so far as to perform the organ part in Mukhin's new symphonic poem. While largely a lighthearted and fun tale, the caricature and censure of another young, but veiled "formalist" composer, Kerosinov, reflects the darker side of contemporary Soviet musical aesthetics. In the way that it does and does not work out the uneasy relationship between serious, light, and formalist music, I argue that Anton Ivanovich serditsya realistically reflects the paradoxical nature of Soviet musical politics in the late 1930s. Alexander Ivanovsky's 1941 film Anton Ivanovich serditsya (Anton Ivanovich is Upset, hereafter AIS) tells the story of Anton Ivanovich Voronov (from voron, "raven"), a venerated professor at the conservatory who idolizes the music of "serious" composers, particularly J.S. Bach. 1 His earnestness is established from the very start: we first see him in deep contemplation and reverence performing Bach's somber Passacaglia and Fugue in C minor, BWV 582, which accompanies the film's opening credits. Anton Ivanovich becomes upset, however, when he learns that his angelic daughter Sima (short for Seraphima, "seraphim"), who is training to become a singer, prefers "lighter" musical fare. His anger boils over when she falls in love with the young composer Alexey Mukhin (from mukha, "fly"), who is just completing a new operetta in which Sima will take the lead role. The expected, and necessary, reconciliation occurs just before the end of the film when Anton Ivanovich is visited in a dream by Bach himself, who convinces the professor that all music can be good, so long as it is well crafted. The professor thus comes to terms with his daughter's love for light music (and for Mukhin) and agrees to perform the organ part in Mukhin's new symphonic poem, a rousing performance of which ends the film. The film is thus, ostensibly, a story "about the justification for the existence of the light genre in music." 2 But there are two other composers involved in the film who must also be taken into consideration. The first is an avant-gardist named Kerosinov (from kerosin, "kerosene"), who has been working on a "Physiological Symphony" for nine years and whose elitist attitude toward music is generally ridiculed 1 The film can be found online at https://youtu.be/sWQqNK_2BsM (accessed June 1, 2018).

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Classics for the Masses

Cited by 92 publications

References 0 publications

Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union

Of Gypsy Barons and the Power of Love: Operetta Programming and Popularity in the Postwar Soviet Union

O mito de Ganimedes: considerações sobre o mito em Biblioteca de Pseudo-Apolodoro e Metamorfoses de Ovídio

"Music is Music": Anton Ivanovich is Upset (1941) and Soviet Musical Politics

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