1960年代匈牙利社会主义现实主义理论与社会主义音乐文化

IF 0.2 0 MUSIC
Andras Ranki
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引用次数: 0

摘要

在20世纪60年代,匈牙利关于音乐美学的出版物数量显著增加。主题、方法和观点的可变性是基于反斯大林主义政治的明确的意识形态重新排序的结果。到60年代中期,社会主义的经济基础和可持续性及其优化运行成为权力的关键问题,因此自然科学和社会科学在公共话语中的重要性增加。艺术不再仅仅被视为政治权力及其意图的例证。我关注的是这一时期三位国际公认的匈牙利学者所写的所谓创造性马克思主义对音乐美学的主要贡献:Jozsef Ujfalussy, Denes Zoltai和Janos Marothy。所选文本从理论角度进行分析,并在匈牙利文化政策及其作者的国家和国际职业生涯的背景下进行解释。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Theories on socialist realism and socialist music culture in the 1960s in Hungary
In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: Jozsef Ujfalussy, Denes Zoltai and Janos Marothy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.
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CiteScore
0.20
自引率
0.00%
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5
审稿时长
12 weeks
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