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Journal articles on the topic 'Realism in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (March 2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.

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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified backdrop to state ritual. In this sense, it was a species of religious art, in which blandness, anonymity and tedium were by no means vices. This article compares the relatively smooth passage of Myaskovsky into Socialist Realism with the troubled homecoming of Prokofiev, who only mastered the discipline just before the end of his life.

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2

Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (November 28, 2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.

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When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.

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3

Clark, Katerina. "Shostakovich's Turn to the String Quartet and the Debates about Socialist Realism in Music." Slavic Review 72, no. 3 (2013): 573–89. http://dx.doi.org/10.5612/slavicreview.72.3.0573.

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As Katerina Clark argues here, Dmitrii Shostakovich's turn to the quartet form in 1938 and his account of his First Quartet should be seen in the context of ongoing debates from that time about how the mandate for socialist realism might apply in music, a problematical question since music is the least representational of the arts. In making this point, Clark does not analyze the quartets themselves, but instead probes Shostakovich's statements about them, moving out from that narrow focus to place his remarks in the context of overall developments and controversies in Soviet culture of that decade—more specifically in the context of efforts aimed at liberalizing socialist realist practice.

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4

Budd, Malcolm. "Aesthetic Realism and Emotional Qualities of Music." British Journal of Aesthetics 45, no. 2 (January 1, 2005): 111–22. http://dx.doi.org/10.1093/aesthj/ayi014.

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5

Schultz, Joseph. "Aram Khachaturian and socialist realism: A reconsideration." Muzikologija, no. 20 (2016): 87–100. http://dx.doi.org/10.2298/muz1620087s.

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Aram Khachaturian remains a neglected figure in scholarship on Soviet music, his work often held as exemplifying Socialist Realism at its most conformist. In this article I suggest that folk music strongly influenced his style well before the imposition of Socialist Realism, and that his musical language and aesthetics have much more in common with those of contemporary composers in the West than has previously been assumed. A central focus of the paper will be to examine the role played by Soviet musicologists in placing questionable critical constructs on Khachaturian?s career and creative achievement.

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6

Miller, Frederick. "Music in Our Schools: The Case for Realism." Design For Arts in Education 89, no. 5 (June 1988): 38–41. http://dx.doi.org/10.1080/07320973.1988.9935523.

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7

Lopes, Dominic. "Pictorial Realism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 277. http://dx.doi.org/10.2307/431353.

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8

LOPES, DOMINIC. "Pictorial Realism." Journal of Aesthetics and Art Criticism 53, no. 3 (June 1, 1995): 277–86. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0277.

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9

McPhail, Graham. "A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change." British Journal of Music Education 33, no. 1 (July 24, 2015): 43–59. http://dx.doi.org/10.1017/s0265051715000091.

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The catalyst for this paper is the ongoing debate concerning formal and informal approaches to pedagogy within the music education literature. I utilise a chapter by Philpott (2010) as a means to continue discussion about the apparent dialectic between formal and informal approaches to music learning and the case Philpott raises for radical change in ‘three moments’ of music education history. In engaging with the concerns in Philpott's chapter I also seek to bring to a wider audience the ideas developed by a group of sociologists of education who draw on the work of Basil Bernstein (2000) and critical realism (Moore, 2013) to argue for a realist theory of knowledge. I utilise thesesocial realistideas as a means to engage with the theme of access to what Michael F.D. Young has recently termed ‘powerful knowledge’ (Young, 2012). As Bernstein (2000) suggests we must have an understanding of the recontextualising principles that come into play whenever the classification of knowledge undergoes change, as ideologies shift and change. I argue for a balance between powerful forms of pedagogyandpowerful forms of knowledge based on an awareness of the essentially differentiated nature of knowledge.

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10

Thomas, D. A. "Opera in the Age of Rousseau: Music, Confrontation, Realism." French Studies 68, no. 1 (January 1, 2014): 112–13. http://dx.doi.org/10.1093/fs/knt272.

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11

Cacqueray, Elisabeth de. "Music, poetry, realism : Benjamin Britten and his film scores." Anglophonia/Caliban 11, no. 1 (2002): 227–36. http://dx.doi.org/10.3406/calib.2002.1468.

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12

Hatch, Christopher. ": Realism in Nineteenth-Century Music . Carl Dahlhaus, Mary Whittall." 19th-Century Music 10, no. 2 (October 1986): 187–90. http://dx.doi.org/10.1525/ncm.1986.10.2.02a00050.

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13

Blich, Baruch. "Pictorial Realism." Empirical Studies of the Arts 9, no. 2 (July 1991): 175–89. http://dx.doi.org/10.2190/lmu5-8vnl-gyx0-kk8u.

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14

Crotty, Joel. "Beyond the Sneer: Revisiting Musical Socialist Realism." Transcultural Studies 9, no. 1 (2013): 93–101. http://dx.doi.org/10.1163/23751606-00901008.

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The author engages with how communism and socialist realism have been re-presented in post-communist Europe. Communist cultural artefacts are displayed in museums and theme parks on a continuum from dangerous relics to benign kitsch. He argues for neutrality when dealing with musical socialist realism and demonstrates some of the pitfalls in taking that position through examples of Romanian art music from the mid-20th century.

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15

Bentley, Charlotte. "Beyond Verismo: Massenet's La Navarraise and ‘Realism’ in Fin-de-siècle Paris." Journal of the Royal Musical Association 144, no. 1 (2019): 29–54. http://dx.doi.org/10.1080/02690403.2018.1507117.

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AbstractThe ‘réalisme’ of Massenet's La Navarraise divided critics at its belated Parisian première on 3 October 1895. While the opera has typically been read as a straightforward attempt at French verismo, this article suggests a more complex set of ways in which modernity and the modern world shaped critical perceptions of and responses to realism. Placing La Navarraise within its wider cultural and technological contexts, I argue that the critics’ ambivalence to its realism provides insight into the changing and contested nature of critical perception and subjectivity in Paris in the final years of the nineteenth century.

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Moore, Christopher. "Socialist Realism and the Music of the French Popular Front." Journal of Musicology 25, no. 4 (2008): 473–502. http://dx.doi.org/10.1525/jm.2008.25.4.473.

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Abstract The political agenda of the French Popular Front (1935––38) sought to unite workers and intellectuals in solidarity against the forces of European fascism. Many French composers were quickly implicated in this politicized process, supported by the rapid development of Communist-funded cultural organizations like the Féédéération Musicale Populaire and inspired by tremendous interest in the Soviet cultural model. These political circumstances welcomed the techniques of socialist realism in France under the Popular Front, but Soviet aesthetics were creatively appropriated to reflect French musical traditions and political realities. Libéérons Thaelmann by Charles Koechlin and Jeunesse by Arthur Honegger exemplify this engagement with Communist politics and aesthetics, confirming the musical and political relevance of socialist realism for French composers during the mid-1930s.

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Milojkovic, Milan. "A Peasant’s Interview with a Foreign Journalist by Predrag Milosevic in relation to the question of socialist realism in Serbian music history." Muzikologija, no. 21 (2016): 71–83. http://dx.doi.org/10.2298/muz1621071m.

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Bearing in mind the position occupied by Yugoslav postwar music, in this article I review certain compositional strategies implemented by Predrag Milosevic in his piece A Peasant?s Interview with a Foreign Journalist, by means of which this modernist composer stepped into the field of socialist realism. I will analyze the score in order to identify the most significant compositional-technical strategies used by the composer. Further analyses will encompass an interpretation of the piece with respect to the theories of socialist realism, while a separate segment of this article will be dedicated to some aspects of the relationship between this composition and writings published at the time of its creation. I will then use these analyses to emphasize some points in Milosevic?s work where one can observe connections with the theoretical output of his contemporaries, as well as with recent writings that focus on understanding the place of socialist realism in Serbian music history.

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GRIMLEY, DANIEL M. "Hidden Places: Hyper-realism in Björk’s Vespertine and Dancer in the Dark." Twentieth-Century Music 2, no. 1 (March 2005): 37–51. http://dx.doi.org/10.1017/s1478572205000186.

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Björk’s collaboration with the director Lars von Trier on the film Dancer in the Dark was marked by well-publicized personal and aesthetic differences. Their work nevertheless shares an intense preoccupation with the nature and quality of sound. Björk’s soundtrack systematically explores the boundaries between music and noise, and the title of von Trier’s film itself presupposes a heightened attention to aural detail. This paper proposes a theoretical context for understanding Björk’s music in the light of her work with von Trier. Whereas Björk’s soundtrack responds to the visual and narrative stimuli of von Trier’s film, the use of sound in her album Vespertine thematicizes more familiar Björk subjects: the relationship between music, landscape and the natural world, and Björk’s own (constructed) sense of Nordic musical identity. By placing Vespertine alongside Björk’s music for Dancer in the Dark, the sense of ‘hyperreality’ that defines both also emerges as a primary characteristic of her work.

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19

Silverberg, Laura. "Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic." Journal of Musicology 26, no. 1 (January 1, 2009): 44–84. http://dx.doi.org/10.1525/jm.2009.26.1.44.

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Abstract Both communist party officials and western observers have typically interpreted the composition of modernist music in the Eastern Bloc as an act of dissidence. Yet in the German Democratic Republic (GDR), the most consequential arguments in favor of modernism came from socialists and party members. Their advocacy of modernism challenged official socialist realist doctrine, but they shared with party bureaucrats the conviction that music ought to contribute to the development of socialist society. Such efforts to reform musical life from a Marxist-Leninist standpoint were typical of the first generation of East Germany's intelligentsia, who saw socialist rule as the only guarantee against the reemergence of German fascism. Two of East Germany's most prominent composers, Hanns Eisler and Paul Dessau, routinely used the twelve-tone method in works carrying an explicitly socialist text. During preparations for the 1964 Music Congress, aesthetician Güünter Mayer drew from Eisler's Lenin Requiem and Dessau's Appell der Arbeiterklasse to argue that modernist techniques were highly appropriate for giving expression to contemporary social conditions. The efforts of these socialists to reconcile modernist techniques with their understanding of socialism undermine basic divisions between communism and capitalism, complicity and dissent, and socialist realism and western modernism.

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20

Garratt, James. "Inventing Realism: Dahlhaus, Geck, and the Unities of Discourse." Music and Letters 84, no. 3 (August 1, 2003): 456–68. http://dx.doi.org/10.1093/ml/84.3.456.

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21

Cowart, Georgia J. "Review: Opera in the Age of Rousseau: Music, Confrontation, Realism." Journal of the American Musicological Society 67, no. 2 (2014): 598–602. http://dx.doi.org/10.1525/jams.2014.67.2.598.

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22

Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.

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23

GOLDMAN, ALAN H. "Realism About Aesthetic Properties." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 31–38. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0031.

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24

KULVICKI, JOHN. "Pictorial Realism as Verity." Journal of Aesthetics and Art Criticism 64, no. 3 (June 2006): 343–54. http://dx.doi.org/10.1111/j.1540-594x.2006.00212.x.

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25

Seinen, Nathan. "Prokofiev's Semyon Kotko and the melodrama of High Stalinism." Cambridge Opera Journal 21, no. 3 (November 2009): 203–36. http://dx.doi.org/10.1017/s0954586710000212.

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AbstractThis article examines the first opera of Prokofiev's Soviet period, Semyon Kotko (1939), in light of the disparity between two forms of melodrama, one affecting the opera's composition, the other its reception. The first is the classic melodrama, which offered the composer the foundation for a vivid, intense work that would also be suitable for a mass audience; the second is the melodrama reflecting the aesthetic norms and moral framework of socialist realism and High Stalinism. The simplicity and immediacy of Kotko avoided the directed emotionalism of the officially favoured model of Romantic opera, and the Ukrainian setting prompted references to the tradition of Gogolian comedy rather than an elevation of folk content to an epic dimension. Characters conform to archetypes of classic melodrama, and together with the opera's comic elements and the unique gestural idiom of its music and manner of performance, this detracted from the required effects of sublime heroism and nationalism. While the outlines of a socialist realist plot remain in Kotko, Prokofiev's commitment to what he considered timeless values of music and drama led to a failure, in socialist realist terms, to achieve an appropriate amplification of its moral essence.

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Rapetti, Valentina. "La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson." Le Simplegadi 18, no. 20 (November 2020): 147–61. http://dx.doi.org/10.17456/simple-163.

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Born in 1945 in Pittsburgh, Pennsylvania, August Wilson was the most prolific and represented African American playwright of the twentieth century. His Century Cycle, a series of ten plays that chronicle the lives of African Americans from the early 1900s to the late 1990s, is an expression of Wilson’s spiritual realism, a form of drama that, while adhering to some conventions of the Western realist tradition, also introduces elements of innovation inspired by blues music and Yoruba cosmology. This essay analyses the double cultural genealogy of Wilson’s work to show how, despite respecting the Aristotelian principle of mìmesis, his playwriting draws on a quintessentially black aesthetic. In conceiving of theatre as a ritualistic performative context where music and words intertwine, Wilson restored what Friedrich Nietzsche regarded as the authentic spirit of Greek tragedy – the harmony between Dionysian and Apollonian – while at the same time injecting an African American ethos into the Western theatrical canon.

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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.

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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).

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28

Kieffer, Alexandra. "Bells and the Problem of Realism in Ravel’s Early Piano Music." Journal of Musicology 34, no. 3 (2017): 432–72. http://dx.doi.org/10.1525/jm.2017.34.3.432.

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Early in his career Maurice Ravel composed two pieces that take bells as their subject: “Entre Cloches” from Sites auriculaires, composed in 1897, and “La vallée des cloches,” the final movement of the 1905 work Miroirs. Although these pieces can be contextualized within a nineteenth-century lineage of French piano pieces that depict bell peals, they also set themselves apart by virtue of their heightened attention to the particularities of bell sonorities. Relying heavily on repetitive ostinato patterns, quartal harmonies, and intense dissonances, these pieces play in the nebulous space between transcription and composition. Ravel’s experimentation with bell sonorities in his piano music can be understood in relation to a broader discourse surrounding the sound of bells in nineteenth-century France. A complex sonic object, bell resonance lent itself to different modes of listening: the harmoniousness of bell peals was a common refrain among romantic poets, Catholic clergy, and campanarian historians, but toward the end of the century it became increasingly common for physicists and popular-science publications to complain that bells were inherently discordant. In this context Ravel’s depictions of bells in “Entre cloches” and “La vallée des cloches” suggest a shift in the place of musical listening in nineteenth- and early twentieth-century cultures of aurality. Ravel’s musical listening entailed heightened attentiveness to the empirical qualities of non-musical sound; his pieces negotiate in new ways the boundary between musical composition and the protean sonic world outside of music. This reorientation of musical listening participates in a broader questioning by early twentieth-century modernists of the nature of music and its sonic material.

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VIEIRA DE CARVALHO, MÁRIO. "Between Political Engagement and Aesthetic Autonomy: Fernando Lopes-Graça's Dialectical Approach to Music and Politics." Twentieth-Century Music 8, no. 2 (September 2011): 175–202. http://dx.doi.org/10.1017/s1478572212000072.

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AbstractIn this article the highly contested relationship between art and politics in the twentieth century is discussed by way of the life and work of the Portuguese composer Fernando Lopes-Graça (1906–94). Lopes-Graça, who described himself as ‘a communist from birth’, lived for almost fifty years in Salazar's ‘New State’, a Fascist-type dictatorship, which emerged from a military putsch in 1926 and lasted until 1974. His experience as a communist under a right-wing régime was therefore very different from that of either communist composers living in Western democratic countries or those active in the Eastern bloc. Lopes-Graça stood apart from most other party intellectuals in his resistance to the doctrine of socialist realism. Yet from 1945 onwards he composed revolutionary songs in which his communist engagement is directly evident. Understanding this apparent tension within his output requires both a careful and nuanced understanding of his own personal position and a clear distinction between political engagement in music on the one hand and socialist realist or neo-realist tendencies on the other. It is that latter distinction – between (in the composer's own terms) ‘lived action’ and ‘imagined action’ – that accounts for the seemingly contradictory coexistence in Lopes-Graça's thinking of aesthetic autonomy and political commitment, and in his music of (to adopt categories posited by Heinrich Besseler) both ‘presentational’ music (for conventional concert settings) and ‘colloquial’ music (to be sung and played ad libitum in political meetings, at demonstrations, in the home, or even in political prisons).

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30

Aikenhead, Paul David. "The Cowboy Junkies Realism Test." Leonardo Music Journal 26 (December 2016): 71–72. http://dx.doi.org/10.1162/lmj_a_00974.

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31

Young, Paul David. "Paranoid Futurism or Totalitarian Realism?" PAJ: A Journal of Performance and Art 32, no. 1 (January 2010): 53–59. http://dx.doi.org/10.1162/pajj.2010.32.1.53.

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Wenderoth, Valeria. "Merging Realism and the Exotic: Lucien Lambert'sLe Spahiand the Colonial Self." Journal of Musicological Research 29, no. 1 (January 29, 2010): 34–63. http://dx.doi.org/10.1080/01411890903210487.

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33

Ignacz, Adam. "“Music for millions”. Janos Marothy and academic research on popular music in socialist Hungary." Muzikologija, no. 23 (2017): 117–25. http://dx.doi.org/10.2298/muz1723117i.

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In this paper I demonstrate the changes in Janos Marothy?s aesthetic and political attitudes towards popular music. Being an internationally acknowledged Marxist musicologist, Marothy found employment in many important musical institutions, in the framework of which he not only had an overview of the events of Hungarian popular music, but with his presentations and articles, in the 1950s and early 1960s he also exerted a considerable influence on them. Using archival data and media coverage, I examine Marothy?s key texts which demanded a revision in the matter of ?socialist realism? and which announced a growing attention and tolerance towards the musical products of Western ?mass culture?: jazz and pop-rock. His work shows how popular music became a part of academic research in Socialist Hungary.

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34

Zangwill, Nick. "Metaphor and Realism in Aesthetics." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 57. http://dx.doi.org/10.2307/431649.

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35

Grigg, Robert. "Flemish Realism and Allegorical Interpretation." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 299. http://dx.doi.org/10.2307/431868.

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ZANGWILL, NICK. "Metaphor and Realism in Aesthetics." Journal of Aesthetics and Art Criticism 49, no. 1 (December 1, 1991): 57–62. http://dx.doi.org/10.1111/1540_6245.jaac49.1.0057.

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37

MAG UIDHIR, CHRISTY. "The Paradox of Suspense Realism." Journal of Aesthetics and Art Criticism 69, no. 2 (May 2011): 161–71. http://dx.doi.org/10.1111/j.1540-6245.2011.01458.x.

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38

Bender, John W. "Sensitivity, Sensibility, and Aesthetic Realism." Journal of Aesthetics and Art Criticism 59, no. 1 (February 2001): 73–83. http://dx.doi.org/10.1111/0021-8529.00008.

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39

Cole, Ross. "Industrial Balladry, Mass Culture, and the Politics of Realism in Cold War Britain." Journal of Musicology 34, no. 3 (2017): 354–90. http://dx.doi.org/10.1525/jm.2017.34.3.354.

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Focusing on a series of pioneering radio ballads produced for the BBC between 1958 and 1961 by Ewan MacColl, Charles Parker, and Peggy Seeger, this article explores representations of industrial working-class culture in folksongs of the radical Left. Situating such work in relation to A. L. Lloyd, mass culture, the nascent New Left, gender, and the aesthetics of social realism (distinct from the project of Soviet socialist realism), I argue that early radio ballads were nostalgic panegyrics for the integrity of working-class identity in the face of unprecedented socio-economic change. At the very moment when distinctively masculine working-class traditions seemed to be at risk of disappearing under the rising tide of affluence, Conservative Party rhetoric, female emancipation, and the emergence of a classless commodity utopia, these programs generated a portrait of an unwavering British subculture damaged and defined by capitalist exploitation yet resistant to the unwelcome advance of globalized modernity. Ultimately, such work revealed far more about MacColl’s own political convictions than about the intricacies of working-class life in Britain.

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March, Lucy. "Pop Music and Hip Ennui: A Sonic Fiction of Capitalist Realism." Popular Music and Society 44, no. 4 (April 17, 2021): 479–81. http://dx.doi.org/10.1080/03007766.2021.1913713.

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41

Amaral, Marcela. "Realistic intermediality and the historiography of the present." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 67–80. http://dx.doi.org/10.33178/alpha.19.06.

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This article tackles intermedial forms in the film O invasor (The Trespasser, Beto Brant, 2001), as it brings in diverse uses of media, predominantly connected to São Paulo’s hip-hop music and culture. I examine how intermediality can be used as a tool to explore the role of art forms within film space and to highlight a critical social view. The highly contrasted Brazilian social class stratum is illustrated using two distinct groups, namely the elite and the urban fringes. Music plays a relevant part in illustrating these divisions but also in exploring the complex notion and experience of border crossing. Analysing specific scenes that depict this division, I intend to examine the director’s decision to illustrate two distinct urban socioeconomic experiences through spatially driven visual and aural aesthetics. I will also aim to understand how the film opens a discursive space for exploring realism through unpredictable events that occur and are absorbed as a means to enhance the film’s atmosphere and narrative. This configuration sets an intriguing debate for the analysis of an intersection between realism and intermediality, or “realistic intermediality”, and a realism that promotes a collision between fiction and reality, producing a seemingly raw documentation of moments framed historically, socially and culturally.

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Schröder, Gesine. "Nationale Musik — Musik im Dienst am Volk. Zu einer Variante sozialistisch-realistischer Musik der frühen DDR: Der Fall Kurt Schwaen." Studia Musicologica 56, no. 4 (December 2015): 301–16. http://dx.doi.org/10.1556/6.2015.56.4.1.

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‘Middle music’ and the ‘middle music theory’ of the German Democratic Republic have received little interest, although their products survive until today. Kurt Schwaen is known for his compositions for folk instruments and for his famous children’s songs such as “Wenn Mutti früh zur Arbeit geht” [When mom goes to work early in the morning]. Schwaen was an author of music for the folk, namely for amateur singers, mostly children, or lay instrumentalists, who played in mandolin or accordion orchestras. Schwaen’s compositions may be considered as a variant of socialistic realism in music. They form a modern folk music by both respecting neomodal writing, derived from the 1920s, as well as by including international folk material and promising an authentic and unsuspicious tune which German folk music lacked since the Third Reich.

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Allen, Richard. "“There Is Not One Realism, But Several Realisms”: A Review of Opening Bazin." October 148 (May 2014): 63–78. http://dx.doi.org/10.1162/octo_a_00175.

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There was a period when André Bazin was considered by some to be a simplistic, naive thinker whose writings were only of historic interest. In 1974, Screen regular Colin MacCabe, in a widely influential article, characterized Bazin as “a theoretically naive empiricist, a kind of idiot of the family.” How times have changed. In a new essay, MacCabe writes that Bazin realized that cinema creates a “complicated series of relationships between camera and setting” and concludes that Bazin was really a modernist, and so on the right side of history after all. Bazin, a modernist? I am not so sure. However, the sea change evidenced by MacCabe is symptomatic of the state of cinema studies as a whole: Bazin is back! This must be deeply gratifying to Bazin scholar and editor of Opening Bazin: Postwar Theory and Its Afterlife Dudley Andrew, who has been Bazin's leading advocate on the American side of the Atlantic for more than three decades.

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Green, Edward. "Rhythm Contradicts Contempt: Aesthetic Realism and The Rite of Spring." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2019): 70–76. http://dx.doi.org/10.17674/1997-0854.2019.1.070-076.

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Young, John. "Imagining the source: The interplay of realism and abstraction in electroacoustic music." Contemporary Music Review 15, no. 1 (January 1, 1996): 73–93. http://dx.doi.org/10.1080/07494469600640371.

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Kay, Simon. "It ain't Over Till the Liposuctioned Lady Sings." Bulletin of the Royal College of Surgeons of England 91, no. 4 (April 1, 2009): 146–47. http://dx.doi.org/10.1308/147363509x423779.

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Rum old thing, opera. If you want to tell a story what does the music add and where does opera become operetta or slide into musical? Most of us ignorami would recognise perhaps a dozen pieces of music from operas and probably mostly the same ones. I have a sneaky suspicion that this is because they are the great ones, the uplifting and moving ones that set moods and attitudes. That is what the music in an opera can do: allow emotive summaries, herald mood changes or enhance and direct feeling. It also prepares us for the surreal and absolves the librettist of some of the pedantic baggage of realism.

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BEARD, DANIJELA Š. "Soft Socialism, Hard Realism: Partisan Song, Parody, and Intertextual Listening in Yugoslav Black Wave Film (1968–1972)." Twentieth-Century Music 16, no. 1 (February 2019): 95–121. http://dx.doi.org/10.1017/s1478572219000112.

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AbstractIn this article I examine the use of music in modernist and politically engaged Yugoslav cinema of the 1960s through three groundbreaking black wave films: Želimir Žilnik'sRani radovi(Early Works, 1969), Dušan Makavejev'sWR: Misterije organizma(WR: Mysteries of the Organism, 1971), and Lazar Stojanović’sPlastični isus(Plastic Jesus, 1971). With a specific focus on the use of Partisan songs, I analyse how key political moments are encoded with new levels of meaning in these films, often through parody, irony, and satire. I identify a ‘sonic turn’ within black wave cinema and propose a method of ‘intertextual listening’ to reflect the importance of contextual knowledge in identifying and interpreting the cultural and political baggage trafficked into these movies. I ask how does music shape the discursive strategies and communicative potential of these films, rendering pre-composed music a powerful medium for social and political critique? And in what ways does film music construct the Yugoslav socialist experience more broadly, reflecting how ideals of reform socialism found musical expression in Yugoslavnovi film?

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BENDER, JOHN W. "Realism, Supervenience, and Irresolvable Aesthetic Disputes." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 371–82. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0371.

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Fairclough, Pauline. "Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s." Journal of Musicology 35, no. 3 (2018): 336–67. http://dx.doi.org/10.1525/jm.2018.35.3.336.

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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.

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Ranki, Andras. "Theories on socialist realism and socialist music culture in the 1960s in Hungary." Muzikologija, no. 26 (2019): 125–40. http://dx.doi.org/10.2298/muz1926125r.

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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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