Musical Style and Genre de Marina Lobanova

Musical Style and Genre: History and Modernity

Marina Lobanova

Kate Cook

This volume constitutes the first complete publication of Marina Lobanova's study - banned in Russia in 1979 as too avant-garde and published there only in a bowdlerized version in 1990.
Drawing on baroque, classical, romantic, and contemporary music, Dr. Lobanova proposes an original concept of musical syntax with special emphasis on the role of the categories of time, space, and motion. Embracing such aspects of cultural life as poetry and philosophy, she deals with the problems of cultural dialogue and the disintegration of the concept of absolute music.

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Introduction; History and the present day; The problem of cultural dialogue; Section 01 1. Unprecedented Reality: Innovation, Tradition and Style in Epochs of Great Rupture; Section 01-01-01 “Something has come to an end”; Section 01-01-02 The antinomies of Baroque; Section 01-01-03 Innovation – tradition – culture; Section 01-01-04 Baroque “conservatives” and “modernists”; Section 01-01-05 Innovation in twentieth-century culture; Section 01-01-06 Tradition: the preservation and transformation of culture; Section 01-01-07 Culture and memory; Section 02 2. The Principles of Musical Poetics – Baroque and the Twentieth Century; Section 02-01-01 The concept of music; Section 02-01-02 “Music” in the age of Baroque; Section 02-01-03 “Music” in the twentieth century; Section 02-01-04 The “musica politica” of the twentieth century; Section 02-01-05 “Seeing” or “hearing”?; Section 02-01-06 Space – time – motion; Section 02-01-07 Concepts of space, time and motion in the age of Baroque; Section 02-01-08 The development of a new concept of space, time and motion: 1920s to 1930s; Section 02-01-09 Concepts of musical time in the twentieth century; Section 02-01-10 Space–time compositions in music; Section 03 3. The Formation of a New Concept of Musical Style; Section 03-01-01 The language of art in epochs of great rupture; Section 03-01-02 Music and words: new treatments; Section 03-01-03 Problems of musical syntax: Baroque – Classicism – Romanticism; Section 03-01-04 The “new musical syntax” of the twentieth century: principles and distinguishing features; Section 04 4. Problems of Musical Style: Classicism, Baroque and the Twentieth Century; Section 04-01-01 The concept of style in the age of Baroque; Section 04-01-02 New functions of musical style in the twentieth century; Section 04-01-03 The problem of style in the early decades of the twentieth century; Section 04-01-04 The “polystylistic situation” in the second half of the 1960s; Section 04-01-05 From the “polystylistic situation” to a “mixed style”; Section 05 5. The Problem of Musical Genre: Baroque, Classicism and the Twentieth Century; Section 05-01-01 “In mixto genere”; Section 05-01-02 The crisis of “absolute music” and the formation of the twentieth-century genre system; Section 05-01-03 The genre experiment; Section 05-01-04 The plurality principle; Section 05-01-05 The mixing principle; Section 05-01-06 Memory in musical genre; conclusion In Lieu of a Conclusion; New syntheses; Appendices; Tables; Diagrams; Index;