Table of Contents

Introduction
Part I: Russian Music History and Historiography Today
Marina Rakhmanova: Russian Musicological Scholarship of the Last Two Decades: Achievements and Lacunae
Patrick Zuk: Soviet Music Studies outside Russia: glasnost and after
Levon Hakobian: The Adventures of Soviet Music in the West: Historical Highlights
Marina Frolova-Walker: Soviet Music in Post-Soviet Musicology: First Twenty Years and Beyond
Part II: Reappraising the Soviet Past
Marina Raku: The Phenomenon of 'Translation' in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity
Pauline Fairclough: From Enlightened to Sublime: Musical Life under Stalin, 1930-1948
Yekaterina Vlasova: The Stalinist Opera Project
Inna Klause: Composers in the GULAG: A Preliminary Survey
Part III: Soviet and post-Soviet musicology
Ol'ga Manulkina: 'Foreign' Versus 'Russian' in Soviet and Post-Soviet Musicology and Music Education
Daniil Zavlunov: Glinka in Soviet and Post-Soviet Historiography: Myths, Realities, and Ideologies
Part IV: The Newest Shostakovich
Liudmila Kovnatskaya: Portrait of the Artist as a Young Man: The Shostakovich-Bogdanov-Berezovsky Correspondence
Ol'ga Digonskaya: Shostakovich's 'Lenin' Project: The 'Pre-Twelfth' Symphony - Reality or Myth?
Part V: Russian Music Abroad
Richard Taruskin: Is There a "Russia Abroad" in Music?
Elena Dubinets: Defining Diaspora through Culture: Russian Émigré Composers in a Globalising World
Part VI: 1991 and after
Laurel Fay: Musical Uproar in Moscow (II)
William Quillen: The Idea of the 1920s in Russian Music Today
Lidia Ader: Paradigms of Contemporary Music in Twenty-First-Century Russia

About the Author

Patrick Zuk is Senior Lecturer in Music at the University of Durham. He is a specialist in twentieth-century Russian music and cultural history. Marina Frolova-Walker FBA is Professor of Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She is the author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007), co-author (with Jonathan Walker) of Music and Soviet Power, 191732 (Boydell, 2012),
and author of Stalin's Music Prize: Soviet Culture and Politics (Yale, 2016).

Reviews

To be presented with eighteen studies on Russian and Soviet music that avoid dramatic or romanticised language brings great hope for the future of the field. Frolova-Walker and Zuk are to be congratulated on the quality, detail, and accessibility of their volume, which marks a milestone in Russian and Soviet music studies, an area for which appraisal and reappraisal has been long overdue.
*Madeline Roycroft, Context*

The aim of this ambitious book is to reassess the critical reception of Russian music over the last century...The editors deserve praise for producing a book of both professional and amateur interest, which is rich in details of fact and ideas, and should be welcomed by musicians, musicologists and enterprising music lovers alike.
*Arnold McMillin, Slavonic and East European Studies*

Zuk and Frolova-Walker have provided a valuable resource for scholars and educators. Their diverse selection of essays has something for everyone, specialist and non-specialist alike. While tone, approach, and quality vary, this volume will surely have staying power as a wide-ranging collection of contemporary work in Russian music studies and a portrait of this important transitional moment in the field.
*Leah Goldman, The Russian Review*