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Stalin's Music PrizeSoviet Culture and Politics$
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Marina Frolova-Walker

Print publication date: 2016

Print ISBN-13: 9780300208849

Published to Yale Scholarship Online: September 2016

DOI: 10.12987/yale/9780300208849.001.0001

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Conclusion

Conclusion

Chapter:
(p.279) Conclusion
Source:
Stalin's Music Prize
Author(s):

Marina Frolova-Walker

Publisher:
Yale University Press
DOI:10.12987/yale/9780300208849.003.0013

This book concludes with a discussion of issues of listening in the Stalin Prize Committee (KSP) and how the Stalin Prize can illuminate the concept or practice of Socialist Realism in music. Instead of looking at the small-scale details of the KSP's decision-making process, it considers the published lists of prize-winning composers such as Dmitry Shostakovich, Sergei Prokofiev and Nikolai Myaskovsky. It argues that, as the case of visual arts implies, it is possible to viably speak of a Socialist Realist core of works that elicited the fullest consensus as canonical examples of Socialist Realism. It also cites the early 1950s as the period whereby both the Stalin Prize and the entire project of Socialist Realism lost their momentum.

Keywords:   composers, Stalin Prize Committee, Stalin Prize, Socialist Realism, music, Dmitry Shostakovich, Sergei Prokofiev, Nikolai Myaskovsky, visual arts

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