Harmony and discord : music and the transformation of Russian cultural life

369 Pages·2011·3.162 MB·English

by  Lynn M Sargeant

Harmony and Discord
series editor Jane F. Fulcher
series board Celia Applegate
Philip Bohlman
Kate van Orden
Michael P. Steinberg
Enlightenment Orpheus: The Power of Music
in Other Worlds
Vanessa Agnew

Voice Lessons: French Mélodie in the Belle
Epoque
Katherine Bergeron
Songs, Scribes, and Societies: The History and
Reception of the Loire Valley Chansonniers
Jane Alden
Harmony and Discord: Music and the
Transformation of Russian Cultural Life
Lynn M. Sargeant
Harmony and
Discord
lynn m.
sargeant
Music and the Transformation
of Russian Cultural Life

1
1
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Publication of this book was supported by the Lloyd Hibberd Publication
Endowment Fund of the American Musicological Society.
Library of Congress Cataloging-in-Publication Data
Sargeant, Lynn M.
Harmony and discord : music and the transformation of Russian cultural life / Lynn M. Sargeant.
p. cm. — (New cultural history of music series)
Includes bibliographical references and index.
ISBN 978-0-19-973526-6
1. Music—Social aspects—Russia. I. Title.
ML3917.R8S272011
780.947—dc22 2010010580

9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
For Mom, Dad, and all the folks back home in “God’s Country.”
This page intentionally left blank
acknowledgments
W ords fail me as I try to express my thanks to all of the friends, family, and
colleagues who have helped turn a very rough idea into a fi nished book. At
Indiana University, I had the great good fortune to meet a cohort of fellow
students who have become lasting friends and wise colleagues, especially
Roark Atkinson, David Fisher, Mara Lazda, Dana Ohren, Matt Pauly, Heather
Perry, Sudha Rajagopalan, and Jude Richter. I was equally fortunate in my
mentors at IU, fi rst Alexander Rabinowitch, and then Ben Eklof, both of
whom began as my advisers and became good friends. To Ben, in particular,
I owe a debt of gratitude for his patience, guidance, and support both during
graduate school and as I made the diffi cult transition to faculty member.
Malcolm Brown’s intellectual generosity and personal kindness also played a
key role in bringing this project to fruition. At Cal State Fullerton, I am

blessed to enjoy the support of wonderful colleagues in the Department of
History, whose fi ne scholarship and thoughtful pedagogy continue to impress
me. I particularly want to thank my mentor, Nancy Fitch, for her friendship,
guidance, and, last but not least, fi ne cooking skills for keeping me happy,
healthy, and sane while on the tenure track. Jochen Burgtorf, similarly, has
been a good friend, stimulating colleague, and professional guide. Friends
and colleagues who are, sadly, more scattered also offered support and con-
structive criticism. Murray Frame and Benita Blessing read early drafts of the
complete manuscript and offered detailed comments and much-needed
encouragement at critical points in what has seemed, at times, an endless
process of research, writing, and revision. William Weber was not only brave
enough to read some of my earliest work on this topic, but still saw enough
promise in it to recommend my participation in the European Science
Foundation’s project on Musical Life in Europe. The stimulating discussions
and critical readings provided during the meetings of our working group on
“Musical Education in Europe” profoundly shaped my thinking on the place
and importance of the conservatory in society. I would also like to thank my
editor, Suzanne Ryan and series editor Jane Fulcher for their support of this
project, as well as the anonymous reviewers of the manuscript for their
detailed evaluations, which challenged me to think more deeply on key issues
and considerably improved this book. Any remaining errors or omissions are,
of course, my own.
I owe a debt of gratitude to several institutions and organizations for their
generous fi nancial support. It seems particularly fi tting to me that a book
that focuses on a nineteenth-century voluntary association would be funded
in its early stages by a voluntary association. The generous Scholar Award
provided by the P.E.O. Foundation supported a critical year of research in St.
Petersburg. Funding provided by a Foreign Language Area Studies fellowship
and the ACTR/ACCELS Title VIII Combined Research and Language
Training program made possible a year of research and Ukrainian-language
training in Kiev. A postdoctoral fellowship from the Spencer Foundation and
the National Academy of Education provided critical time free from teaching
for research and revision. At Cal State Fullerton, I have benefi ted from con-
sistent support for research and writing from the College of Humanities and
Social Sciences, as well as the CSU/CSUF intramural grant program. I partic-
ularly want to thank Dean Thomas Klammer for his dedication to facili-
tating faculty research and publication in the humanities and social
sciences.
I truly appreciate the patience and professionalism shown to me by archi-
vists and librarians in Russia and Ukraine. I had the privilege of working in

the rich collections of the Russian National Library, the Ukrainian National
Library, and the libraries of the St. Petersburg, Saratov, and Kiev conserva-
tories, as well as the Russian State Historical Archive (RGIA), the Central
State Historical Archive of St. Petersburg (TsGIA SPb), Russian Institute for
the History of Art (RIII), the Russian State Archive of Literature and Art
(RGALI), the Central State Archive-Museum of Ukraine (TsDAMLM), and
the State Archive of the City of Kiev (DAMK), as well as, briefl y, the State
Archive of Tambov Oblast’ (GATO). I would particularly like to thank Galina
Kopytova at RIII for her hospitality and scholarly erudition, as well as her
assistance in acquiring key images for this volume.
Finally, I must thank the friends and family who have, with patience and
grace, endured my obsession with Russian history and the Russian Musical
Society. I would particularly like to thank my parents, who have supported
viii acknowledgments
me emotionally as well as occasionally fi nancially through the Bank of Mom
and Dad during my long transition from high school band director to ten-
ured university professor. My brother Glen, his wife Felicia, and, of course,
my delightful nieces Amanda and Emily have helped me keep it all in per-
spective, reminding me always that what matters most is family.
A portion of chapter 6 was previously published as “ Kashchei the Immortal :
Liberal Politics, Cultural Memory, and the Rimsky-Korsakov Scandal of
1905” Russian Review 64, no. 1 (January 2005): 22–43. Earlier versions of
some of the ideas and material in chapters 3 and 4 originally appeared as “A
New Class of People: The Conservatory and Musical Professionalization in
Russia,1861–1917”Music and Letters84, no. 1 (February 2004):41–61, and
“Ambivalence and Desire: State, Society, and Music Education in Russia” in
Musical Education in Europe (1770–1914): Compositional, Institutional, and
Political Challenges , volume 1, edited by Michael Fend and Michel Noiray
(Berlin: Berliner Wissenschafts-Verlag, 2005),245–73.

acknowledgments ix