Creative union : the professional organization of Soviet composers, 1939-1953 /
Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres."--Jacket.
| Prif Awdur: | |
|---|---|
| Fformat: | Licensed eBooks |
| Iaith: | Saesneg |
| Cyhoeddwyd: |
Ithaca, N.Y. :
Cornell University Press
2006.
|
| Cyfres: | Cornell scholarship online.
|
| Mynediad Ar-lein: | https://www.jstor.org/stable/10.7591/j.ctt22727w0 |
Tabl Cynhwysion:
- The formation of the Composers' Union, 1932-41
- Administering the creative process
- Composers on the march, 1941-45
- Zhdanovshchina and the Ogolevets affair
- Brouhaha! : party intervention and professional consolidation, 1948
- Anticosmopolitanism and the music profession, 1949-53
- The results of party intervention
- Muzfond, royalties, and popularity
- Elite hierarchies
- "Most respected comrade
- " : informal networks in the Stalinist music world.