Textological Aspects of Musicology in Russia and the Former Soviet Union

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Textological Aspects of Musicology in Russia and the Former Soviet Union

In this monograph, Tatyana Naumenko, Doctor of Arts and a professor at Moscow’s Gnessin Russian Academy of Music, looks at modern Russian musicology through the prism of texts representing it. She mentions subjects addressed in musicological studies, names genres of music that scholars preference to explore, and describes modern methods of research and criteria of assessment, largely with the aim of overcoming Soviet-era dogmatism. Special consideration is given to the writing of academic degree dissertations on music in the former Soviet Union and post-Soviet Russia. The Annex lists dissertations approved between 1970 and 2013.

Форматы: PDF

Издательство: Прогресс-Традиция

Год: 2017

Место издания: Москва

ISBN: 978-5-89826-495-1

Страниц: 449

Артикул: 8555

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Содержание книги "Textological Aspects of Musicology in Russia and the Former Soviet Union "

Introduction

Chapter 1. “POST”-ERA PARADOXES

Contemporary style in terms and notions

Cult of innovations in epoch of nostalgia

About “Time of musicologists”

Chapter 2. SOME HISTORICAL ASPECTS OF MUSICOLOGICAL TEXT

Scholarly sources and parameters of musicology

Acquisition of status

Text and the state

Chapter 3. POST-SOVIET DECONSTRUCTIONS

Deconstructing official prescriptions for what subjects to choose for research

Deconstruction of myths

Deconstruction of scholarly boundaries

Chapter 4. WAYS OF RENEWAL OF TEXT

In search of a name

In search of the right genre: the problem of prefaces

In search of description methods

Chapter 5. SCIENTIFIC TEXT AS INTERPRETATION: AUTHORS’ APPROACHES

Spiritual music space

Mozart and time

Again about Shostakovich

Chapter 6. DISSERTATIONS ON CATEGORY 17.00.02 (THE ART OF MUSIC) SUBJECTS AS A FIELD OF SOVIET

AND RUSSIAN MUSICOLOGY

The place of musicology in the system of scholarly degrees and awards

Before and after 1991

Thesis boom and parasite texts

Chapter 7. MUSICOLOGISTS SPEAK ON MUSICOLOGY

Levon akopyan: ‘modern musicological literature must be interesting to read’

Nikolai Denisov on the study of the old Russian art of church singing: ‘a church

service is a synthesis of all arts with its rules, text, and singing

Natalya Gulyanitskaya: ‘Research is my state of mind, my aspiration, my necessity…

Irina Susidko: ‘Old cliches are fortunately receding into the past

Andreas Wehrmeyer on contemporary German musicology

Conclusion

Annex. EXPLANATORY NOTES

Section I. DISSERTATIONS FOR THE DEGREES OF CANDIDATE OF ARTS AND DOCTOR OF ARTS APPROVED IN THE 1970S AND 1980S

1970–1979

1980–1990

Section II. DISSERTATIONS FOR THE DEGREES OF CANDIDATE. AND DOCTOR OF ARTS APPROVED AFTER 1991

ARCHIVES, MANUSCRIPT COLLECTIONS, AND OTHER SOURCES

GENRES

FOREIGN MUSIC

WESTERN EUROPEAN MUSIC OF THE PRE-CLASSICAL AND EARLY CLASSICAL PERIODS

WESTERN EUROPEAN MUSIC OF THE CLASSICAL ERA

WESTERN EUROPEAN 19TH-CENTURY MUSIC

WESTERN EUROPEAN MUSIC OF THE LATE 19TH AND EARLY 20TH CENTURY

FOREIGN 19TH-CENTURY MUSIC

INSTRUMENTATION AND ORGANOLOGY

HISTORY OF MUSIC EDUCATION AND CONCERT INSTITUTIONS

THE ART OF CHURCH BELL RINGING

AUDIO RECORDINGS, MUSIC IN THE MEDIA, AND INFORMATION TECHNOLOGY

MUSIC AND OTHER ARTS

MUSIC OF PEOPLES OF RUSSIA

TEACHING OF MUSIC

PERCEPTION OF MUSIC

ART OF MUSIC PERFORMANCE

REGIONAL MUSIC STUDIES AND URBAN MUSIC CULTURE

Content of music

MUSICOLOGY, MUSIC CRITICISM, HISTORY OF MUSIC THEORY DOCTRINES, AND PUBLICATION OF SCORES AND BOOKS ON MUSIC

NATIONAL SCHOOLS

NON-EUROPEAN CULTURES

SPECIAL SUBJECTS

RUSSIAN MUSIC

17TH CENTURY

18TH CENTURY

19TH CENTURY

THE END OF THE 19TH AND EARLY DECADES OF THE 20TH CENTURY

RUSSIAN POST-1917 MUSIC:

THE FIRST HALF OF THE 20TH CENTURY

THE LATTER HALF OF THE 20TH AND THE BEGINNING OF THE 21ST CENTURY

RUSSIAN EMIGRE COMPOSERS

MEANS OF EXPRESSION

PORTRAITS OF PERFORMERS, COMPOSERS, TEACHERS, MUSICOLOGISTS, MUSIC CRITICS, AND PATRONS OF MUSIC

CREATIVE PROCESS AND MUSIC TEXTOLOGY

PROBLEMS OF THEORY

PHENOMENA AND UNIVERSALS

THE ART OF CHURCH SINGING

ETHNOMUSI COLOGY

Section III. DISSERTATIONS IN MUSICALOGY APPROVED AT FOREIDN HIGHER SCHOOLS AND UNIVERSITIES IN 2010–2013 DOCTORAL DISSERTATIONS IN MUSICOLOGY

Great britain

Germany

Usa

OTHER COUNTRIES

Отрывок из книги

56Chapter 2. Some historical aspects of musicological textWhen we speak of the scholarly nature of musicology, we mean not only generally known criteria such as authenticity, absence of contradictions, confirmability, concep-tual coherence, ability to make forecasts, and the possibility of falsification,3 but also an “infrastructure” that takes care of these criteria and has taken centuries to evolve. This infrastructure encompasses the genre diversity of research, a tradition of description of original sources such as doctrines or works of music, serious examination of Russian and foreign scholarly traditions, creation of a single system of concepts and terms. This infrastructure should be able to integrate into the overall scholarly context and follow its accepted formats of exposition such as the writing of theses for academic degrees and the tradition of their public defense.Possibly, one of the reasons for the genuine scholarly character of musicology is the ancient history of music studies. It is natural science that has given rise to schol-arly traditions, and it is indisputable that, for a long time, musicology developed along the same lines. In fact, musicology began to address technical matters much earlier than aesthetic issues.4 It is hard not to accept this point of Alexei Losev: “When we perceive music, it becomes clear to us that, no matter how far music is from logic, it requires the entire phenomenological apparatus of perception that one needs for perceiving things in separation from one another with the aim of logical thinking about them.”5 Seeing “music as an object of logic” comprehensively justifies all the scholarly operations that it has undergone during its long history. It is only natural, therefore, that there gradually evolved an algorithm for the description of music that put musicology among the vener-able and prestigious scholarly disciplines that a while ago laid down rules for intellectual text. Moreover, countless scholarly theor...

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