Description
Book SynopsisIn 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. The author assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions.
Table of ContentsPreface Introduction: My Wonderful World; or, Dismembering the Triad PART ONE: NOT BY MIND? 1. Non-Nationalists, and Other Nationalists 2. Revenants 3. Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter? 4. Catching Up with Rimsky-Korsakov 5. Not Modern and Loving It 6. Written for Elephants: Notes on Rach 3 7. Is There a "Russia Abroad" in Music? 8. Turania Revisited, with Lourie My Guide 9. The Ghetto and the Imperium 10. Two Serendipities: Keynoting a Conference, "Music and Power" 11. What's an Awful Song Like You Doing in a Nice Piece Like This? The Finale in Prokofieff's Symphony-Concerto, Op. 125 12. The Birth of Contemporary Russia out of the Spirit of Music (Not) PART TWO: REVISITING STRAVINSKY 13. Just How Russian Was Stravinsky? 14. How The Rite Became Possible 15. Diaghilev without Stravinsky? Stravinsky without Diaghilev? 16. Resisting The Rite 17. Stravinsky's Poetics and Russian Music 18. Did He Mean It? 19. In Stravinsky's Songs, the True Man, No Ghostwriters 20. "Un Cadeau Tres Macabre" Index
