Nationalism in Music in the Totalitarian State, 1945-1989 (24-25, January 2015)

 

Video recordings of the papers on videotorium.hu

Pál Richter (Director of the Institute of Musicology RCH HAS): Opening of the conference

Richard Taruskin: The Ghetto and the Imperium (Keynote)

Peter Schmelz: Valentin Silvestrov and Ukrainian National Identity from Quiet Songs to the Maidan

Samuel Manzoni: Sollertinsky’s Eredity - How to Make a Symphony from Beethovenian Interpretation and Shakespearean Ideology

Jeff Siegfried: Modernism with Soviet Characteristics: Boris Asafiev’s Musical Form as a Process and Edison Denisov’s Sonata for Alto Saxophone and Piano

Anu Kõlar: Estonian Song Celebrations During the Soviet Era - Two Ways of Constructing Nationalism

Mark Lawrence: Veljo Tormis - Ancient Song Re-Employed

Urve Lippus: The Conflict Between ‘Official’ and Ethnographic (Authentic) Folk Music Ensembles in the Soviet Union and Veljo Tormis’s Folklore-Based Compositions in the 1970s

Ivana Medić: The Impossible Avant-Garde: The Curious Case of Vladan Radovanović

Valentina Sandu-Dediu: How Traditional Music Matches Romanian Avant-Garde

Nemanja Sovtić: ‘…Today, It Is No Longer Time to Disclaim a Man: An Artist Should Take Care of How to Establish Him Into His Work…’ Rudolf Brucci and the Criticism of the European Avant-Garde

Bianca Ţiplea Temeş: Sounding the Ethnic Note: Ligeti’s Romanian Concerto Within the Confines of the Iron Curtain Aesthetics

Elena Zinkevych: National Traditions and Ukrainian Avant-Garde of the 1960s

Brian C. Thompson: Zhao Jiping and the Sound of Resistance in Red Sorghum

Lóránt Péteri: The History of Hungarian Music Versus the Music History of Hungary: The ‘Question of Nationalism’ in Hungarian Musicology During the Post-Stalinist Period

Brigitta Davidjants: Identity Construction in Music: National Element in Armenian Musicological Discourse by Way of Example of Aram Khachaturian

Marcus Zagorski: Making the Postwar Avant-Garde More German - The Concept of the Experiment in Dahlhaus’s Historiography

Katy Romanou: The Effects of the Cold War Cultural Policies in Post-Dictatorial Greece

Péter Halász: Hungarian Music Between Renewal and National Tradition

Vladimír Zvara: ‘Slovakness’ in Music – A (Now Concluded) History

Hermann Danuser: Musical Nationalism After 1945 - The Case of the German Democratic Republic (Keynote)

Elena Dubinets: Non-Conformism or Nationalism? Yuri Butsko and His ‘Russian Dodecaphony’

Markéta Štefková: Why There Are Two Whirlpools Staged in Slovakia

Anna Dalos: Rediscovering Kodály. The Neo-Conservative Turn in Hungarian Composition (1971–1982)

Melita Milin: The Vigilant State and Orthodox Music - Little Stories from Socialist Yugoslavia

Martin Nygaard Hansen-Chernetskiy: Medieval Chant and Nationalism in Soviet Musicology

Nicolae Gheorghiţă: Nationalism Through Sacred Chant? Byzantine Musicology Research in Totalitarian Romania

Gesine Schröder: Nationalism Without Nation. Paradox Paths of the GDR Music and Music Theory

Ádám Ignácz: ‘Hungarian in Form, Socialist in Content’. The Concept of the Hungarian National Dance Music in the Rákosi-Era (1949-1955)

Ana Petrov: ‘Rock and Roll Will Keep Us Together’ - Music and the Yugoslav Collective Body in the Day of Youth

Srđan Atanasovski: Music Practices and Voluntary Youth Labour Actions in Socialist Yugoslavia - Producing the Territory of ‘Brotherhood and Unity’

Nikola Baković: Song of Brotherhood, Dance of Unity - Tours of Yugoslav Singers in the West in the 1960s and 1970s

Zachary Cairns: Music for Prague 1968: A Display of Czech Nationalism from America

Pál Richter: Dance House in the Hungarian Socialist Regime

Sonja Zdravkova-Djeparoska: Folklore, Dance in the Context of Modeled Ideological Messages

Matěj Kratochvíl: Our Song! – Nationalism in Folk Music Research and Revival in the Socialist Czechoslovakia

Branko Ladič: And Now We Present Folk Music Re-Worked by Masters: Transformations of Folklorism in Slovak Music

 

Pictures of the Conference / Képek a konferenciáról

• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
•