THE MUSIC AND CULTURE IN THE SHADOW OF THE OCTOBER REVOLUTION

Managing Peoples’ Amateur Music and Art Activities in Bulgaria, Immediately Before the Creation of the Peoples’ Art Central Home (1948 – 1954). What is a “Subor” [a national fair] and How to Organize a “Celebration”

Goritza Naydenova THE MUSIC AND CULTURE IN THE SHADOW OF THE OCTOBER REVOLUTION Year 9 (2017)

This article follows formation of governing structures (on a national and local level) that are to administer organized amateur art activity [samodeynost, самодейност] before establishing the Peoples’ Art Central Home in 1954. Following administrative documents and publications there are two events that develop over time: 1. “Subors” (old country traditional fairs, holidays, related to church […]

Sketches of Bulgarian Ideological Music Censure (1945 – 1959). The Administrative Net of Bulgarian Music Institutions

Angelina Petrova THE MUSIC AND CULTURE IN THE SHADOW OF THE OCTOBER REVOLUTION Year 9 (2017)

These musings have to do with the suppression of certain processes related to the New music, in the legitimately regulated space of “official” culture, all part of the history of Communist era music administration and government. Main “heroes” of this study are the Committee for Science, Art and Culture (CSAC) and the Union of Composers, […]

The End of Symphony and the Last Man (Shostakovich’s Fourth Sympony’s Anti-Utopia)

Natasha Yapova THE MUSIC AND CULTURE IN THE SHADOW OF THE OCTOBER REVOLUTION Year 9 (2017)

In this article, Shostakovich’s Fourth Symphony is treated as a musical illustration of the symphonic genre’s impossibility to be homologic to the trend that gave birth to it – the humanistic view about the world and man. In his Fourth – this is the thesis to be defended – Shostakovich, without destroying the symphonic model, […]

The “Rethought” Shostakovich, in the Musical Research from the 80s of the 20th Century, Until the Present

Boryana Mangova THE MUSIC AND CULTURE IN THE SHADOW OF THE OCTOBER REVOLUTION Year 9 (2017)

Soviet Stalinist propaganda elevates Shostakovich’s person and art as being an emblem of flourishing socialist culture. The ambivalence of his behavior and music compositions – a reflexion of complex life circumstances, creates a controversial approach towards the composer in Russia and in the world. Is he a victim, or a devoted servant of Stalin’s regime […]