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.
| Κύριος συγγραφέας: | |
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| Μορφή: | Licensed eBooks |
| Γλώσσα: | Αγγλικά |
| Έκδοση: |
Ithaca, N.Y. :
Cornell University Press
2006.
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| Σειρά: | Cornell scholarship online.
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| Διαθέσιμο Online: | https://www.jstor.org/stable/10.7591/j.ctt22727w0 |
Πίνακας περιεχομένων:
- 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.