Genrich Orlov’s Academic Style as a Phenomenon of Russian Culture in the Second Half of the 20th Century
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Abstract
The history of Russian musical scholarship of the second half of the 20th century is inconceivable
without Genrich Orlov, whose texts about music have always been acknowledged by the professional
community as a standard. Orlov is a full-fledged adherent of the musicological school of Mikhail
Druskin, which demonstrated an extremely subtle connection of aspiration to an original authorial
viewpoint and respect for the traditions of his pedagogues with a constant search for a resonator
of the changing historical time, at times even forestalling it. The scholarly style of Genrich Orlov
presents a dynamic phenomenon, which has developed during the course of over forty years. Three
of his fundamental monographs, “Simfonii Shostakovicha” [“The Symphonies of Shostakovich”]
(1961), “Russkiy sovetskiy simfonizm” [“The Russian Soviet Symphonic Legacy”] (1966) and
“Drevo muzyki” [“The Tree of Music”] (1992) are perceived as brilliant examples of interpretation
of the particularities of historical time periods in the author’s scholarly style, in which three stages
have been established: the early 1960s, from the second half of the 1960s to the early 1970s, and
the turn of the 1990s.
Among the peculiarities of the style of the first monograph, written at the the time of «Khrushchev’s
thaw,» mention must be made of the use of reviews written by critics and the composers themselves
as means of objectivizing musical analysis; the content of the symphonies is examined through a
historical-biographical context, and the author’s utterances can be characterized for their publicist
and controversial attitudes. In the second book the authorial style gradually becomes more
academic, and the index of names which appears at the end of it vividly demonstrates the musical
picture of the world of the Soviet intellectual during the beginning of the period of stagnation.
Orlov’s third compendium, having been written during the time of his emigration, nonetheless,
has become a scholarly bestseller of post-Soviet musicology. In this work the signature features of
his scholarly style were concentrated: the conceptual importance of the premise, the multi-angle
quality in the analysis of the object, the adherence to the comparative method and the extra-musical
conceptions and terms, the hypothetical deductive method, and an interest in themes endowed with
an interdisciplinary or poly-disciplinary character.
The publication is prepared within the framework of scholarly project No. 19–18–00414
supported by the RNF (Russian Science Foundation).
Keywords: Genrich Orlov, scholarly style, methodology of musicology, Dmitri Shostakovich,
the Russian Soviet symphonic legacy, the philosophy of music.
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