Andrey Smirnov: Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia (2013)

“Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term “bio-mechanics”; Leon Theremin, inventor of the world’s first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin’s regime. Drawing on materials from numerous Moscow archives, this book reconstructs Avraamov’s Symphony of Sirens, an open-air performance for factory whistles, foghorns and artillery fire first staged in 1922, explores Graphic Sound and recounts Theremin’s extraordinary career-compiling the first full account of Russian electronic music.”

Edited by Matt Price and David Rogerson
Foreword by Jeremy Deller
Publisher Koenig Books, London, in partnership with Sound and Music, London, 2013
ISBN 3865607063, 9783865607065
281 pages

Talk by the author (audio, 90 min, 2012)
Interview with author: Nathan Budzinski (video, The Wire, 2013).

Exh. review: Daniele Balit (The Wire, 2009).
Reviews: Agata Pyzik (Calvert Journal, 2013), Colin McSwiggen (n+1, 2013), Alessandro Ludovico (Neural, 2013), Jacob Gotlib (Computer Music Journal, 2014), Thomas Patteson (Current Musicology, 2017).

Author
Publisher
WorldCat

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Dolores L Augustine: Red Prometheus: Engineering and Dictatorship in East Germany, 1945-1990 (2007)

“In Cold War-era East Germany, the German tradition of science-based technology merged with a socialist system that made technological progress central to its ideology. Technology became an important part of East German socialist identity—crucial to how Communists saw their system and how citizens saw their state. In Red Prometheus, Dolores Augustine examines the relationship between a dictatorial system and the scientific and engineering communities in East Germany from the end of the Second World War through the 1980s.

Drawing on newly opened archives and extensive interviews, and including many illlustrations and photographs that have never before been published, Augustine looks in detail at individual scientists’ interactions with the East German system, examining the effectiveness of their resistance against the party’s totalitarian impulses. She explains why many German scientists and engineers who were deported to the Soviet Union after World War II returned to East Germany rather than defecting to the capitalist West, traces scientists’ attempts to hold on to some aspects of professional autonomy, and describes challenges to their professional identity on the factory floor. Augustine examines the quality of science and technology produced under Communist rule, looking at failed research projects and clashing cultures of innovation. She looks at technological myth-building in science fiction and propaganda. She explores individual career strategies, including the role played by gender in high-tech professions, and the ways that both enterprises and individuals responded to increasing state and party control of research during the 1980s. We cannot understand the economic choices made by East Germany, Augustine argues, unless we understand the cultural values reflected in the East German belief in technology as indispensable to progress and industrial development.”

Publisher MIT Press, 2007
Transformations: Studies in the History of Science and Technology series
ISBN 0262012367, 9780262012362
381 pages

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Peter J Schmelz: Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw (2009)

Following Stalin’s death in 1953, during the period now known as the Thaw, Nikita Khrushchev opened up greater freedoms in cultural and intellectual life. A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was this perhaps more true than in music. Students at Soviet conservatories were at last able to use various channels–many of questionable legality–to acquire and hear music that had previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. In the 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo Pärt, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music of predictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations.

This “unofficial” music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance or opposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and supplements this first-hand testimony with careful archival research and detailed musical analyses. The first book to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of Russian culture and society.

Publisher Oxford University Press, 2009
ISBN 0195341937, 9780195341935
408 pages

review (Pauline Fairclough, Notes)
review (Kiril Tomoff, The American Historical Review)
review (Solomon Volkov, Radio Svoboda, in Russian)

publisher
google books

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