Russian Art, Music and Literature Essay - 860 Words | …

The precondition for kitsch, a condition without which kitschwould be impossible, is the availability close at hand of a fullymatured cultural tradition, whose discoveries, acquisitions, andperfected self-consciousness kitsch can take advantage of forits own ends. It borrows from it devices, tricks, stratagems,rules of thumb, themes, converts them into a system, and discardsthe rest. It draws its life blood, so to speak, from this reservoirof accumulated experience. This is what is really meant when itis said that the popular art and literature of today were oncethe daring, esoteric art and literature of yesterday. Of course,no such thing is true. What is meant is that when enough timehas elapsed the new is looted for new "twists," whichare then watered down and served up as kitsch. Self-evidently,all kitsch is academic; and conversely, all that's academic iskitsch. For what is called the academic as such no longer hasan independent existence, but has become the stuffed-shirt "front"for kitsch. The methods of industrialism displace the handicrafts.

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Essay on Russian Art, Music and Literature -- Essays Papers

The title of this work can be misleading as to its real content, that of a and not just about the most famous classical composers. It opens with an historical sketch of the topic from 1825-1917 and then has a small bibliography of choral works from famous classical and religious composers. Sections 2 and 3 comprise bibliographies of works by leading figures of Russian choral culture and of works by other composers of Russian religious choral music. The remaining sections are bibliographies of collections of religious vocal music, of theoretical works about church choral music published in both books and periodicals, and a name index. See the entry for I. Goviazin.

a great significance for the Russian musical and dancing art

This is a bibliography of . The citations include monographs as well as newspaper and journal articles. The text is divided into the two following sections each arranged chronologically by date of publication and then alphabetically within each date: publications of Russian folk song texts; publications of works about Russian folk songs. Although the compiler admits in the preface that this bibliography does not attempt to be comprehensive, nevertheless it is an excellent place to start doing research in this field. Unfortunately, there is only a name index to supplement the chronological arrangement. See the entries below from 1820 from the second section.

It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music.
It was not only this but also other encouraged movements in music and literature.

For a Concentration in Russian Language and Culture.

It helped to enrich the rock language with many achievements of world music culture and attract the attention of multi-million Russian and foreign audience to the Russian language rock.

and Lenin on art; general bibliographic literature on ..

'Gorod' ()
Aquarium played a special part in the history of Soviet rock music and still stands out in the panorama of modern bands.

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We can see then that although from one point of view the personalphilistinism of Hitler and Stalin is not accidental to the rolesthey play, from another point of view it is only an incidentallycontributory factor in determining the cultural policies of theirrespective regimes. Their personal philistinism simply adds brutalityand double-darkness to policies they would be forced to supportanyhow by the pressure of all their other policies -- even werethey, personally, devotees of avant-garde culture. What the acceptanceof the isolation of the Russian Revolution forces Stalin to do,Hitler is compelled to do by his acceptance of the contradictionsof capitalism and his efforts to freeze them. As for Mussolini-- his case is a perfect example of the of a realist in these matters. For years he bent a benevolenteye on the Futurists and built modernistic railroad stations andgovernment-owned apartment houses. One can still see in the suburbsof Rome more modernistic apartments than almost anywhere elsein the world. Perhaps Fascism wanted to show its up-to-dateness,to conceal the fact that it was a retrogression; perhaps it wantedto conform to the tastes of the wealthy elite it served. At anyrate Mussolini seems to have realized lately that it would bemore useful to him to please the cultural tastes of the Italianmasses than those of their masters. The masses must be providedwith objects of admiration and wonder; the latter can dispensewith them. And so we find Mussolini announcing a "new Imperialstyle." Marinetti, Chirico, ., are sent intothe outer darkness, and the new railroad station in Rome willnot be modernistic. That Mussolini was late in coming to thisonly illustrates again the relative hesitance with which ItalianFascism has drawn the necessary implications of its role.