- Title Pages
- Dedication
- Note on the Text
- Acknowledgements
- Introduction
-
Chapter One How It All Worked -
Chapter Two The First Year -
Chapter Three Prokofiev: The Unlikely Champion -
Chapter Four Shostakovich: Hits and Misses -
Chapter Five Shostakovich as a Committee Member -
Chapter Six Myaskovsky and His School -
Chapter Seven Checks and Balances -
Chapter Eight High and Low -
Chapter Nine Awards for Performers -
Chapter Ten 1948 and Khrennikov’s Rule -
Chapter Eleven The Stalin Prize Without Stalin - Conclusion
-
Appendix I Music awards in composition -
Appendix II Other music awards (performance, non-musicians in production or performance, musicology) -
Appendix III All music awards year by year -
Appendix IV Prizes voted for by the KSP but never awarded (for years 1952–53) -
Appendix V ‘National’ awards given to composers individually -
Appendix VI ‘National’ composers included as part of the team in films and opera, ballet and drama productions -
Appendix VII Awards given to popular song composers within the Music nomination -
Appendix VIII Membership of the KSP in 1940 and subsequent changes - Bibliography
- Index
Conclusion
Conclusion
- Chapter:
- (p.279) Conclusion
- Source:
- Stalin's Music Prize
- Author(s):
Marina Frolova-Walker
- Publisher:
- Yale University Press
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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- Title Pages
- Dedication
- Note on the Text
- Acknowledgements
- Introduction
-
Chapter One How It All Worked -
Chapter Two The First Year -
Chapter Three Prokofiev: The Unlikely Champion -
Chapter Four Shostakovich: Hits and Misses -
Chapter Five Shostakovich as a Committee Member -
Chapter Six Myaskovsky and His School -
Chapter Seven Checks and Balances -
Chapter Eight High and Low -
Chapter Nine Awards for Performers -
Chapter Ten 1948 and Khrennikov’s Rule -
Chapter Eleven The Stalin Prize Without Stalin - Conclusion
-
Appendix I Music awards in composition -
Appendix II Other music awards (performance, non-musicians in production or performance, musicology) -
Appendix III All music awards year by year -
Appendix IV Prizes voted for by the KSP but never awarded (for years 1952–53) -
Appendix V ‘National’ awards given to composers individually -
Appendix VI ‘National’ composers included as part of the team in films and opera, ballet and drama productions -
Appendix VII Awards given to popular song composers within the Music nomination -
Appendix VIII Membership of the KSP in 1940 and subsequent changes - Bibliography
- Index
