Relevant bibliographies by topics / Rock music – Soviet Union – History

Academic literature on the topic 'Rock music – Soviet Union – History'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Rock music – Soviet Union – History"

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Husband, William B., and Timothy W. Ryback. "Rock around the Bloc: A History of Rock Music in Eastern Europe and the Soviet Union." Russian Review 49, no. 4 (October 1990): 521. http://dx.doi.org/10.2307/130557.

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Gaut, Greg. "Rock Around the Bloc: a History of Rock Music in Eastern Europe and the Soviet Union. By Timothy W. Ryback. Oxford and New York: Oxford University Press, 1990. 272 pp." Popular Music 10, no. 2 (May 1991): 249–51. http://dx.doi.org/10.1017/s0261143000004566.

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Дюкин, С. Г. "Rock-discourse as the reflection of Perestroika." Диалог со временем, no. 76(76) (August 17, 2021): 265–75. http://dx.doi.org/10.21267/aquilo.2021.76.76.007.

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Цель статьи – выявление реформаторского потенциала рок-музыки, который проявился в ходе Перестройки. Гипотезой исследования стала мысль о том, что молодежная музыка была не столько двигателем процессов изменения советского общества, сколько отражала намерения власти и ход реальных реформ, служила для апробации реформаторского дискурса. Исследование проведено на основе анализа нарративных интервью с очевидцами событий, музыкантами и людьми, близкими к рок-культуре в конце 1980-х гг., публикаций в прессе описываемого периода, неопубликованных документов. Появление и развитие описанного в статье дискурса указывает на использование рок-музыки в качестве индикатора изменений и инструмента для забрасывания камней, то есть апробации радикальных идей и решений. The aim of this article is detection of reform potential of rock-music during Soviet Perestroika. Hypothesis of research is idea that youth music was not so much a support for changing of the Soviet society, but it was a mirror, which reflected intentions of power and process of real reforms. Rock-music was used for the testing of reform discourse. The forming and development of this discourse indicates the use of rock-music as an indicator of changings and instrument for check of discourse field or for testing radical ideas and decisions.
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Steinholt, Yngvar B. "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs." Popular Music 22, no. 1 (January 2003): 89–108. http://dx.doi.org/10.1017/s0261143003003064.

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From the mid-1980s, rock music emerged as the leading musical culture in the major cities of the Soviet Union. In writings and research on this ‘Soundtrack of Perestroika’, attention has been primarily paid to the words rather than the sounds. Russian rock critics and academics, as well as those who participate in Russian rock culture, persistently emphasise the literary qualities of Russian rock music and most still prefer to approach rock as a form of musical poetry - ‘Rok poèziya’. This seems out of step with the growing emphasis on an interdisciplinary approach within popular music studies. The aim of this article is to investigate and discuss some of the core arguments that underpin notions of Russian rock music's literary qualities. This may help to uncover some specific national characteristics of rock in Russia, whilst at the same time questioning the need for, and value of, a literary approach to the study of Russian rock.
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Dzyuba, Oleg, and Larуsa Tatarinova. "Music samizdat." Вісник Книжкової палати, no. 7 (July 29, 2021): 9–12. http://dx.doi.org/10.36273/2076-9555.2021.7(300).9-12.

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The article considers the phenomenon of music samizdat, which allowed Soviet music lovers to listen to Western music, which was banned in the USSR. Ways of disseminating the works of such artists as Petro Leshchenko or Alexander Vertinsky, or Western artists such as Elvis Presley, Ella Fitzgerald, Chuck Berry, The Beatles, The Rolling Stones, The Beach Boys. The study focuses on music, but rather, even on the technical side of the issue of samizdat. "Ribs", "Magnitizdat", "Rock Courier" have left a significant mark on the development of popular music of the post-Soviet period, our intelligence is focused on the history of this phenomenon.
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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (May 10, 2022): 200–230. http://dx.doi.org/10.30965/22102396-05602012.

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Abstract The officially sanctioned popular music genre of Soviet estrada has traditionally been an industry where both male and female performers have been able to achieve high levels of success and public exposure. Meanwhile, within the genres of underground and unofficial popular music – rock, punk, and rap – the male-dominated gender disparity has been much more pronounced. This article investigates the reasons behind this dynamic within a Russo-Soviet context. In dialogue with Judith Butler’s notion of gender performativity as well as recent scholarship on gender in Western rock and punk movements, the present essay considers the evolution of performative strategies of female artists in Russo-Soviet popular culture. The discussion spans the Soviet, late-Soviet, and post-Soviet historical periods, focusing on the gendered performative dimensions in the musical careers of Alla Pugacheva, Yanka Diagileva, and the art-punk collective Pussy Riot, in an effort to account for the glaring dearth of female performers in traditionally “transgressive” popular genres. I present the argument that Russian and Soviet women performers working in rock, punk, and rap, or when forging new directions in estrada, have evolved to mitigate the genres’ prescriptive masculinity by relying on performing “otherness” as a conduit to mass appeal, celebrity status, and acclaim for artistic individuality.
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Myzelev, Alla. "Let the music play: ‘Hipsters’ and heteronormative fashion." Film, Fashion & Consumption 11, no. 2 (November 1, 2022): 169–86. http://dx.doi.org/10.1386/ffc_00046_1.

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The article examines how fashion assists in emphasizing heteronormativity in the musical film Hipsters (2008). The film is about the first countercultural phenomenon in the Soviet Union – Stiliagi. Predominantly men, these young people adapted different styles of dress, language, behaviour and dance that they felt was closely copying the styles of western cultures such as Teddy Boys. While the movement that started in the late 1940s and continued to the early 1960s included heterosocial behaviour, the film that presumably recreates the affective feeling of the culture distorts the history to spotlight heterosexuality and the search for individual freedom. It argues that given that historically and currently, the association between fashion and masculinity in the Russian culture is understood as effeminate, the film had to create clear heteronormative relationships between the male and female protagonists while emphasizing fashion and consumption. The article demonstrates how the film works within post-Soviet ideology by comparing the use of fashion in the film and the historical data about the actual Stiliagi movement of the 1950s. By negating the heterosocial and heterosexual relationship, the film created an artificial understanding of the Soviet culture. It follows the official ideological doctrine of creating nostalgia for the simpler yet somewhat stifled life in the Soviet Union without attracting the audience’s attention to the repressions of the post-Stalin Soviet Union.
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Domanskii, Yurii V. "PROG-ROCK. RUSSIAN VERSION BOOK REVIEW: SAVICKAYA, E.A. (2022), PROGRESSIVE ROCK: HEROES AND DESTINIES. PART 2: FROM SOVIET ART ROCK TO RUSSIAN PROGRESSIVE ROCK (ROCK-EXPRESS, GII, MOSCOW)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 149–56. http://dx.doi.org/10.28995/2686-7249-2022-6-149-156.

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The review considers the book “Progressive Rock: Heroes and Destinies. Part 2: From Soviet Art Rock to Russian Progressive Rock” by E.A. Savitskaya. It is substantiated that the work may be called a milestone on the way of the deeper understanding of the musical genre featured in the title of the book and that the work is of the utmost importance for both the history of Russian music and the theory of culture.
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SCHMELZ, PETER J. "Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union." Journal of the American Musicological Society 58, no. 1 (2005): 139–207. http://dx.doi.org/10.1525/jams.2005.58.1.139.

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Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arvo Pärt, and Edison Denisov—came of age in the years following Stalin's death in 1953. Their compositions reflected their attempts to “catch up” with the Western avant-garde following decades of musical development that had been denied them under Stalin. The first “new” technique these composers adopted was serialism, and Volkonsky's early compositions illustrate the specifically Soviet approach to the method and demonstrate the meanings it held for Soviet officials and Soviet audiences. Volkonsky's early works also force a broadening of current interpretations of postwar European and American serialism. Much of the information in the article stems from personal interviews with Volkonsky and the other leading composers and performers of the Thaw, as well as archival research conducted in Russia.
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Serov, Yuri. "BORIS TISHCHENKO. THE TWELVE. CREATION HISTORY AND BASIC COMPOSING PRINCIPLES." Globus 7, no. 2(59) (April 4, 2021): 15–18. http://dx.doi.org/10.52013/2658-5197-59-2-3.

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The article is devoted to the history of the creation and music score of the ballet Twelve based on the poem by A. Blok by the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko. The ballet was staged by the famous Soviet choreographer Leonid Jacobson back in 1964 and became, in fact, the first avant-garde ballet in the Soviet Union. Critics noted Tishchenko’s bright modern symphonic music and Jacobson’s free plastics, which “became a breath of clean air in the rarefied atmosphere of classical epigonism”.
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Dissertations / Theses on the topic "Rock music – Soviet Union – History"

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Crooker, Matthew R. "Cool Notes in an Invisible War: The Use of Radio and Music in the Cold War from 1953 to 1968." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1559565327720453.

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Mikkonen, Simo. "Music and power in the Soviet 1930s : a history of composers' bureaucracy /." Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.

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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.
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Impara, Christine Louise. "To Love is Human: Leonid Zorin's A Warsaw Melody Considering Concepts Love and Fate in Russian Culture Reflected in its Theatre Tradition." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589579622867398.

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Winter, Denis. "The Use of the Tenorhorn and Baryton in the Brass Chamber Music of Oskar Böhme and Victor Ewald: a Lecture Recital, Together with Three Recitals of Selected Works of J. Boda, J. Brahms, G. Jacobs, G. Mahler, T.R. George, J. Castérède, A. Capuzzi and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332434/.

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The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.
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Turgeon, Melanie Edwardine. "Composing the sacred in Soviet and post-Soviet Russia : history and Christianity in Alfred Schnittke's Concerto for Choir /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3270044.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.
Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2239. Adviser: Donna Buchanan. Includes bibliographical references (leaves 217-231) Available on microfilm from Pro Quest Information and Learning.
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"Rhapsody in Red: Jazz and a Soviet Public Sphere Under Stalin." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.45512.

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abstract: This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
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Doctoral Dissertation History 2017
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Lowry, Yana. "From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union." Diss., 2014. http://hdl.handle.net/10161/8695.

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Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly-established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin's abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.

There currently exists no scholarly literature providing a wide-ranging view of the German and Soviet musical exchange during the 1920s and 30s. The paucity of comprehensive studies is especially apparent in the English-language scholarship on German and Russian mass music, also known as "music for the people." Even though scholars have produced works devoted to the Soviet and Weimar mass music movements in isolation, they rarely explore the musical connections between the two countries. The lack of scholarship exploring the musical exchanges between the Soviet Union and Germany suggests that scholars have not yet fully examined the influences that the Soviet and German mass songs and their proponents had on each other during the 1920s and 1930s. Exposing these musical influences provides a valuable perspective on the broader differences and similarities between the Soviet and German communist parties. The connections between Soviet and German songs went beyond straightforward translations of propaganda texts from one language to another; the musical and textual transformations--such as word changes, differences in the instrumental arrangements, and distinct approaches to performance--allow for a more nuanced comparison of the philosophical, ideological, and political aspects of Soviet and the German communist movements. In my dissertation, I consider the musical roots of collective singing in Germany as opposed to Russia, evaluate the musical exchanges and borrowings between the early Soviet communists and their counterparts in the Weimar Republic, and explore the effects of musical propaganda on the working classes of both countries. I see my research as a mediation of existing Soviet and Weimar music scholarship.


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Books on the topic "Rock music – Soviet Union – History"

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Ryback, Timothy W. Rock arount the bloc: A history of rock music in Eastern Europe and the Soviet Union. New York: Oxford University Press, 1990.

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Ryback, Timothy W. Rock around the bloc: A history of rock music in Eastern Europe and the Soviet Union. New York: Oxford University Press, 1990.

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Rock and roll in the Rocket City: The West, identity, and ideology in Soviet Dniepropetrovsk, 1960-1985. Washington, D.C: Woodrow Wilson Center Press, 2010.

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Troit︠s︡kiĭ, A., and A. Troit͡skiĭ. Back in the USSR: The true story of rock in Russia. Boston: Faber and Faber, 1988.

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Richmond, Sonya. A musical journey through the Soviet Union. Moscow: Progress Publishers, 1985.

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Richmond, Sonya. A musical journey through the Soviet Union. Moscow: Progress Publishers, 1985.

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Tusovka: Who's who in the new Soviet rock culture. London: Omnibus Press, 1990.

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Soviet film music: An historical survey. Australia: Harwood Academic Pub., 1997.

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Gerald, Abraham. Essays on Russian and East European music. Oxford: Clarendon Press, 1985.

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Zhuk, S. I. Rock and roll in the Rocket City: The West, identity, and ideology in Soviet Dniepropetrovsk, 1960-1985. Washington, D.C: Woodrow Wilson Center Press, 2010.

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Book chapters on the topic "Rock music – Soviet Union – History"

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Schmelz, Peter J. "Popular Music, the Devil, and Aerobics." In Sonic Overload, 141–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0006.

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This chapter advances the argument of Sonic Overload by turning to the interactions between art and popular music in Schnittke’s Symphony No. 1, Requiem (1975), Concerto Grosso No. 1 (1977), Piano Concerto (1979), Symphony no. 3 (1976–81), and Faust Cantata (Seid nüchtern und wachet, 1983), as well as several of his film scores. It considers for the first time Schnittke’s ongoing negotiations between high and low across his entire career, giving careful scrutiny to his declaration in the late 1980s that “pop culture is a good disguise for any kind of devilry.” Schnittke’s change of heart, from embracing popular music—and specifically jazz and rock—from the late 1960s through the 1970s, to expressing grave concerns about its effects a decade later, mirrored the sentiments of many. In the turbulent final years of the Soviet Union, rock supplanted poetry as the conscience of the nation yet it still inspired deep anxiety among those embracing traditional Soviet conceptions of being “cultured.” Schnittke’s apprehensions about popular music in the 1980s stemmed from its growing presence in the fragmented late-Soviet soundscape and its growing prestige among newly influential tastemakers, chief among them younger intellectuals and other cultural figures. The elevation of pop music in the USSR (as in the West) expanded a growing generational divide. Schnittke’s own rejection of popular music seems to have been instigated in part by his son, Andrey, who in the early 1980s was a member of the noted Moscow rock group Center (Tsentr), a fact overlooked by previous scholars.
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Hakobian, Levon. "The Adventures of Soviet Music in the West: Historical Highlights." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0004.

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This chapter deals with the history of Soviet music’s relations with the outside world from the mid-1920s until the end of the millennium. During all these decades the Soviet musical production of any coloration was perceived by the free Western world as something largely strange or alien, often exotic, almost ‘barbarian’. The inevitable spiritual distance between the Soviet world and the ‘non-Soviet’ one resulted in some significant misunderstandings. Though some important recent publications by Western musicologists display a well qualified view on the music and musical life in the Soviet Union, the traces of past naiveties and/or prejudices are still felt quite often even in the writings of major specialists.
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Fay, Laurel E. "Musical Uproar in Moscow (II)." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0016.

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The core of this chapter is documentation of the proceedings of the Eighth All-Union Congress of Soviet Composers in 1991, drawn from the eyewitness account and tape-recorded transcripts made by the author, the only Western musicologist who was accredited to attend. It provides a vivid snapshot of a critical moment in Soviet musical and cultural history, a time of political upheaval, regional and ethnic strife, and economic collapse. The Congress began hopefully, but quickly disintegrated into a debacle of monumental proportions. From the vantage point of twenty years later, the Eighth—and what proved to be the final—Congress of the USSR Union of Composers stands out as a turning point in a radical and unprecedented cultural transformation.
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Worley, Matthew. "Comrades in bondage trousers: how the Communist Party of Great Britain discovered punk rock." In Labour and Working-Class Lives. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995270.003.0012.

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Matthew Worley’s essay on the Communist Party of Great Britain offers a fascinating insight into how the CPGB and the Young Communist League sought to engage with Punk at a time when the Party was losing membership rapidly in the decade or so before the collapse of communism in Eastern Europe and the Soviet Union. Stimulated by the writings of Martin Jacques, and other prominent members of the Party, the attempt to embrace the anti-commercial music establishment of the emerging youth culture in the 1970s led to serious debate within the CPGB between those still committed to mass class conflict based upon industrial struggle as a basis of political consciousness (economism) and those who sought to enact the ‘cultural turn’, by embracing gender and race as well as class. The CPGB failed in its efforts, and was rather less successful than the Socialist Worker’s Party with its ‘Rock against Racism’ campaign, but at least there was a vibrancy of campaigning within a declining organisation which did leave an impact upon subsequent interpretations of punk rock and youth culture..
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Bullivant, Joanna. "Black, White, and Red." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0014.

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The opera The Sugar Reapers (1962–5), by Alan Bush (1900–95), is doubly outside the communist bloc: the work of an English communist, set in the remote South American colony of British Guiana. Yet far from being an isolated curiosity, it addresses crucial aesthetic issues in post-war communism. As an enthusiast for the call for nationalist socialist realism that emanated from the Soviet Union in 1948, Bush faced particular difficulties in composing a work for British Guiana. What did national music mean in the context of an ethnically and culturally diverse population? And how was the danger of exoticism to be avoided? Tracing Bush's use of Guianese music, this chapter reveals a work indicative of the paradoxes of socialist realism, and creative in navigating these paradoxes. The work's political context and performance history are addressed as starting points for further investigation of communist cultural engagement with the Third World.
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Eller, Jonathan R. "Witness and Celebrate." In Bradbury Beyond Apollo, 35–40. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0006.

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Chapter five surveys the poems and musical experiments that both distracted Bradbury from story writing and renewed his creativity in the early 1970s. Television and film composer Lalo Schifrin put Bradbury’s Madrigals for the Space Age to music just as Bradbury’s accelerating output of poems led to the first of three volumes of verse with his trade publisher Alfred A. Knopf. His defiant articles on the termination of the Apollo lunar missions culminated in his December 1972 Playboy article, “From Stonehenge to Tranquility Base,” a title image meant to convey the all-too-brief period of human history devoted to reaching the heavens. Chapter five concludes with unsuccessful attempts by the United States government to negotiate a cultural exchange for Bradbury with the Soviet Union.
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Allen, Edward. "Nocturne." In Forms of Late Modernist Lyric, 243–78. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789622423.003.0011.

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This chapter is about the night song, or nocturne, and the extent to which it has provided J. H. Prynne with a formal correlative for his nocturnal habits. It did so at a crucial moment in the poet’s career – the 1960s – just as he was composing the lyrics that would eventually find a home in The White Stones (1969). Those years witnessed significant strides in space exploration – particularly for the Soviet Union and for the United States – just as they did for political causes of one kind and another, including the Civil Rights movement. Prynne was attentive to such movements, with the result that the nocturne became in his hands a vehicle for thinking about the sorts of macro-historical developments that others (Ezra Pound, Charles Olson) had once explored in the epic form. The chapter is about the politics of cosmology, then, but it is also about the longer history of nocturne-writing. As well as touching on poets central to the evolving genre, the chapter looks to other media such as visual art and music (James McNeill Whistler’s paintings, Fryderyk Chopin’s piano writing) in order to assess the kinds of analogy that might help to thicken a description of the nocturne genre.
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Conference papers on the topic "Rock music – Soviet Union – History"

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Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.106.

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Abstract:
Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national history only, because despite a relatively strong national and regional self-centredness of the musical life of the GDR, it can hardly be understood without the political and cultural references to the Soviet Union, the Federal Republic of Germany and the neighbouring European states.
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