Jump to ContentJump to Main Navigation
The Melody of TimeMusic and Temporality in the Romantic Era$
Users without a subscription are not able to see the full content.

Benedict Taylor

Print publication date: 2016

Print ISBN-13: 9780190206055

Published to Oxford Scholarship Online: November 2015

DOI: 10.1093/acprof:oso/9780190206055.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see www.oxfordscholarship.com/page/privacy-policy).date: 19 June 2019

Temporality in Russian Music and the Ideology of History

Temporality in Russian Music and the Ideology of History

(p.172) 4 Temporality in Russian Music and the Ideology of History
The Melody of Time

Benedict Taylor

Oxford University Press

Moving from subjective to intersubjective temporality, this chapter examines how music may reflect a culture’s historical understanding of time. It has long been a truism of music criticism that nineteenth-century Russian symphonic music somehow lacks a genuine sense of development in comparison with a ‘normative’ German model. This chapter puts forward an alternative way of approaching Russian instrumental music, from the perspective of a different conception of musical and historical time. By interrogating this idea of temporality both musically and culturally, it suggests a potential distinction between a specifically Western Enlightenment model of time and historical progress, and a static, repetitive, even timeless conception that may apply to many pieces of the nineteenth-century Russian repertoire. Yet ultimately this binary opposition is seen to be overly simplistic, the chapter arguing for a richer understanding of music’s relation with time within both Russian and Austro-German traditions.

Keywords:   music and cultural conceptions of history, stasis, repetition, and circularity in music, Russian music (nineteenth century), Balakirev, Borodin, Tchaikovsky

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .