柴可夫斯基与十九世纪晚期俄罗斯艺术音乐经济学

IF 0.2 1区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGY Pub Date : 2019-04-01 DOI:10.1525/JM.2019.36.2.195
P. Bullock
{"title":"柴可夫斯基与十九世纪晚期俄罗斯艺术音乐经济学","authors":"P. Bullock","doi":"10.1525/JM.2019.36.2.195","DOIUrl":null,"url":null,"abstract":"As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":"102 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia\",\"authors\":\"P. Bullock\",\"doi\":\"10.1525/JM.2019.36.2.195\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.\",\"PeriodicalId\":44168,\"journal\":{\"name\":\"JOURNAL OF MUSICOLOGY\",\"volume\":\"102 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2019-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF MUSICOLOGY\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1525/JM.2019.36.2.195\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSICOLOGY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/JM.2019.36.2.195","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 1

摘要

作为俄罗斯第一位专业的音乐学院出身的作曲家,彼得·伊里奇·柴可夫斯基在俄罗斯解放后迅速发展的社会和经济背景下工作,他找到了与俄罗斯的音乐机构——歌剧院、剧院、音乐会组织和出版商——互动的方法,塑造了他在经济上和艺术上同样成功的职业生涯。然而,柴可夫斯基财政无能的神话仍然存在,无论是大众还是学者,柴可夫斯基的形象仍然是一个挥霍无度的人,无法管理自己的收入或控制自己的支出。这篇文章通过引用最近出版的柴可夫斯基和他的出版商彼得·尤根森之间的完整通信,以及作曲家档案中保存的财务记录,对这些观点提出了挑战。本文特别从流派层面分析了柴可夫斯基、尤根森与俄罗斯音乐“市场”运作之间的关系,考察了经济考虑与柴可夫斯基选择特定音乐形式的决定之间的相互作用。通过考察俄罗斯新生的音乐机构之间的联系,柴可夫斯基与出版商的特殊合作,以及不同音乐流派的相对地位,我们有可能确定19世纪下半叶俄罗斯音乐“艺术世界”的本质。本文对柴可夫斯基的经济机构提出了一个比以往更细致、更系统的描述,从而有助于越来越多的研究19世纪塑造俄罗斯艺术的制度结构的工作。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia
As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.90
自引率
0.00%
发文量
8
期刊介绍: The widely-respected Journal of Musicology enters its third decade as one of few comprehensive peer-reviewed journals in the discipline, offering articles in every period, field and methodology of musicological scholarship. Its contributors range from senior scholars to new voices in the field. Its reach is international, with recent articles by authors from North America, Europe and Australia, and circulation to individuals and libraries throughout the world.
期刊最新文献
Heroic Artists, Critical Abuse, and the Death of Maria Malibran From Milton to Hamilton and Handel Sonny Rollins’s Musical Thought Constructing a Versatile Virtuoso Persona Instrument or Appliance? The RCA Theremin, Gender, Labor, and Domesticity
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1