Pauline Fairclough is Professor of Music at the University of Bristol.Peter J. Schmelz is Professor in the Department of Comparative Thought and Literature at Johns Hopkins University and an affiliated faculty member at the Peabody Institute.
Description
Acknowledgments Note on Transliteration Introduction, by Pauline Fairclough and Peter J. Schmelz Section 1: Borders and Boundaries 1. Il Dolce Suono: Glinka's Ruslan Between Archaism and Modernity, by Olga Manulkina 2. Tango and Jews Under the Sultry Skies of Odesa and Beyond, by Inna Naroditskaya 3. The Mutual Gaze: Anglo-Russian Musical Alliance During the First World War, by Pauline Fairclough 4. Henry Cowell and the "Paradox" of Soviet Russia, by Kevin Bartig 5. Crossing Impenetrable Borders: Crossing Impenetrable Borders, by Klara Moricz 6. Cybernetic Disco Party: Toward a New Geography of the Soviet Underground, by Gabrielle Cornish 7. Improvisations with a Soviet Flavor: Sergey Kuryokhin Tours the United States, Fall 1988, by Peter J. Schmelz Section 2: Wartime Reflections 8. Revolution, Trauma, and a Transition to Nowhere: Russian Music and Culture Post-1991, by Marina Frolova-Walker 9. Witnessing a New Exodus, by Elena Dubinets Section 3: Remembering Richard Taruskin 10. Remembering Richard Taruskin, by Pauline Fairclough 11. Richard Taruskin and Us, by Liudmila Kovnatskaya 12. Taruskin and Us, by Olga Manulkina Contributors Index
"A timely intervention in a critical contemporary debate."-Philip Bullock, author of Rachmaninoff and His World "Fairclough and Schmelz present this volume as a scholarly answer to the threats to the discipline posed by recent geopolitical events, in particular in the dramatic outbreak of war between Russia and Ukraine. In the introduction, they reflect on the horror of the situation, but also on the effects the conflict might have on the academic study of Russian culture. The editors contend that Russian music studies can no longer be pursued in the same way as before. . . . One can only sympathize with the heartfelt reactions to the terrible situation and with the sincere effort for responsible scholarship in the face of real-life threats. The plea for taking the politics of scholarship as a non-neutral defense of liberal and humanist values seriously will resonate with many readers who sympathize with the specific plight of Russian studies in the present circumstances."-Francis Maes, author of A History of Russian Music