Defining and Defending Music Analysis in the Soviet 1930s
Bibliographic Data
| ID | 21836077 |
|---|---|
| Authors | Daniil Zavlunov (0000-0003-2437-7243, corresponding author) |
| Year | 2020 |
| Volume | 14 |
| Issue | 2 |
| Publication date | 2020-08-04 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music and Politics (JOURNAL) |
| Journal identifiers | ISSN: 1938-7687 • E-ISSN: 1938-7687 |
| Publisher | University of Michigan Library (PUBLISHER • US) |
| DOI | 10.3998/mp.9460447.0014.202 |
| OpenAlex | W3047705020 |
| Language | EN |
| Citations received | 1 |
| References cited | 2 |
In the process of developing the method of tselostny analiz (holistic analysis) in the 1930s, its creators-Leo Mazel, Viktor Zuckerman, and Iosif Rzhkin-tried to establish music analysis as an independent branch of musical knowledge, one that could lay claim to scientific objectivity (i.e., be positivist) and at the same time meet the demands of Marxist dialectical materialism. With its far-reaching consequences not just for scholarship but also music theory pedagogy, music analysis required rigorous cultivation, propagation, and defense-especially in the age of anti-formalism and socialist realism. Examining select writings of holistic analysts, and of their critics, this study illuminates the ideological and intellectual underpinnings of analysis as practiced in the Soviet Union at this time
Political science · Diverse Musicological Studies · History · Musicology and Musical Analysis · Psychology
| Citations per year | 0.33 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |