Daniel Elphick
Biographic Data
| ID | 5936932 |
|---|---|
| NAME | Daniel Elphick |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Elphick |
| SIGNATURE | ELPHICK D |
| AFFILIATIONS | Royal Holloway University of London |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Formalistic Freaks in Music’
Amidst all the art, literature, music, and theatre of the ‘Zhdanovshchina’ (the post-war Soviet intervention in arts policy), one play stands out: Sergei Mikhalkov’s Ilya Golovin. In this play, a leading Soviet composer is chastised for his formalism but sees the error of his ways and again writes music of sufficiently socialist character. Ilya Golovin is noteworthy not just because it presents a crude parody of Shostakovich and his music, but be…
Nikolay Myaskovsky
There are many figures familiar to audiences interested in Russian/Soviet music: composers like Shostakovich, Prokofiev, Rachmaninov, Stravinsky, Khachaturian, or performers like Emil Gilels, David Oistrakh, and Sviatoslav Richter. Others, such as Mieczysław Weinberg or Georgy Sviridov, are gaining wider critical attention. Some figures, however, are known mostly to specialists, and for many, Nikolay Myaskovsky belongs to this camp. His music is,…
Boris Asafiev and soviet musical thought
The theories of Boris Asafiev, including musical process, symphonism, and intonatsiya, proved to be hugely influential in the Soviet Union and beyond. While Asafiev?s ideas were widely adopted by theorists and audiences alike, they were also appropriated by a generation of music critics. As composers struggled to come to terms with what might constitute socialist-realist music, critics built a discourse of projecting meaning onto works via Asafie…
Composing for the State
The intrigue of music composed under dictatorships has proven undeniably attractive to scholars, with a sizeable body of literature following the collapse of the USSR and Fukuyama’s ‘End of History’ theory. The same thinking that has sought to paint Shostakovich as a secret protestor against the Soviet regime has been turned to pardon the likes of Richard Strauss and Carl Orff for their various levels of collaboration with the Nazi regime. While …
No prominent works on this page.
Composing for the State
The intrigue of music composed under dictatorships has proven undeniably attractive to scholars, with a sizeable body of literature following the collapse of the USSR and Fukuyama’s ‘End of History’ theory. The same thinking that has sought to paint Shostakovich as a secret protestor against the Soviet regime has been turned to pardon the likes of Richard Strauss and Carl Orff for their various levels of collaboration with the Nazi regime. While …
Boris Asafiev and soviet musical thought
The theories of Boris Asafiev, including musical process, symphonism, and intonatsiya, proved to be hugely influential in the Soviet Union and beyond. While Asafiev?s ideas were widely adopted by theorists and audiences alike, they were also appropriated by a generation of music critics. As composers struggled to come to terms with what might constitute socialist-realist music, critics built a discourse of projecting meaning onto works via Asafie…
Nikolay Myaskovsky
There are many figures familiar to audiences interested in Russian/Soviet music: composers like Shostakovich, Prokofiev, Rachmaninov, Stravinsky, Khachaturian, or performers like Emil Gilels, David Oistrakh, and Sviatoslav Richter. Others, such as Mieczysław Weinberg or Georgy Sviridov, are gaining wider critical attention. Some figures, however, are known mostly to specialists, and for many, Nikolay Myaskovsky belongs to this camp. His music is,…
Formalistic Freaks in Music’
Amidst all the art, literature, music, and theatre of the ‘Zhdanovshchina’ (the post-war Soviet intervention in arts policy), one play stands out: Sergei Mikhalkov’s Ilya Golovin. In this play, a leading Soviet composer is chastised for his formalism but sees the error of his ways and again writes music of sufficiently socialist character. Ilya Golovin is noteworthy not just because it presents a crude parody of Shostakovich and his music, but be…
Art (4 works) · Literature (4 works) · Art history (3 works) · Eastern European Communism and Reforms (3 works) · Law (3 works) · Musical (3 works) · Political science (3 works) · Politics (3 works) · Diverse Musicological Studies (2 works) · Historical Geopolitical and Social Dynamics (2 works)