{"title":"苏联音乐是中庸的吗?肖斯塔科维奇的第五交响曲,社会主义现实主义,以及20世纪30年代的大众听众","authors":"P. Fairclough","doi":"10.1525/JM.2018.35.3.336","DOIUrl":null,"url":null,"abstract":"Symphonic music composed under Stalin presents both ethical and aesthetic problems. Often assumed to have been composed in a compromised style by composers who were either coerced into abandoning their “real” modernist inclinations or who were in any case second-rate, these works have been labelled variously socialist realist, conformist, conservative, or even dissident, depending on the taste and opinion of those passing judgement. This article argues that picking and choosing which symphony is socialist realist and which is not cannot be justified either logically or historically, and that we should no longer attempt to define any non-texted or non-programmatic music in this way. The Anglophone term “middlebrow” holds out the possibility of describing this repertoire without implying ethical or artistic compromise on the composers’ part, acknowledging that, in the absence of any elite or “highbrow” musical culture, composers shared the aim of reaching a mass audience.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"9","resultStr":"{\"title\":\"Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s\",\"authors\":\"P. Fairclough\",\"doi\":\"10.1525/JM.2018.35.3.336\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Symphonic music composed under Stalin presents both ethical and aesthetic problems. Often assumed to have been composed in a compromised style by composers who were either coerced into abandoning their “real” modernist inclinations or who were in any case second-rate, these works have been labelled variously socialist realist, conformist, conservative, or even dissident, depending on the taste and opinion of those passing judgement. This article argues that picking and choosing which symphony is socialist realist and which is not cannot be justified either logically or historically, and that we should no longer attempt to define any non-texted or non-programmatic music in this way. The Anglophone term “middlebrow” holds out the possibility of describing this repertoire without implying ethical or artistic compromise on the composers’ part, acknowledging that, in the absence of any elite or “highbrow” musical culture, composers shared the aim of reaching a mass audience.\",\"PeriodicalId\":413730,\"journal\":{\"name\":\"The Journal of Musicology\",\"volume\":\"20 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"9\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Journal of Musicology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1525/JM.2018.35.3.336\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Journal of Musicology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/JM.2018.35.3.336","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s
Symphonic music composed under Stalin presents both ethical and aesthetic problems. Often assumed to have been composed in a compromised style by composers who were either coerced into abandoning their “real” modernist inclinations or who were in any case second-rate, these works have been labelled variously socialist realist, conformist, conservative, or even dissident, depending on the taste and opinion of those passing judgement. This article argues that picking and choosing which symphony is socialist realist and which is not cannot be justified either logically or historically, and that we should no longer attempt to define any non-texted or non-programmatic music in this way. The Anglophone term “middlebrow” holds out the possibility of describing this repertoire without implying ethical or artistic compromise on the composers’ part, acknowledging that, in the absence of any elite or “highbrow” musical culture, composers shared the aim of reaching a mass audience.