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Sonic OverloadAlfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR$
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Peter J. Schmelz

Print publication date: 2021

Print ISBN-13: 9780197541258

Published to Oxford Scholarship Online: January 2021

DOI: 10.1093/oso/9780197541258.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use.date: 27 January 2022

The Collage Wave Crests

The Collage Wave Crests

Chapter:
(p.195) 6 The Collage Wave Crests
Source:
Sonic Overload
Author(s):

Peter J. Schmelz

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197541258.003.0007

Chapter 7, the turning point of Sonic Overload, traces the broader development of polystylism in the 1960s and into the 1970s, when many Soviet composers adopted polystylistic approaches in various forms and still others moved on, already tired of its aging novelties. Younger composers in particular grasped polystylism as theirs, no longer the sole province of their superannuated “fathers.” Soviet musicologists continued engaging with the now-ubiquitous trend and scolded composers for too readily adopting the latest technique du jour. They defensively enfolded polystylism into familiar dichotomies of form and content: polystylism’s multifaceted form reflected the multifaceted reality of the contemporary Soviet Union. At the same time, it demonstrated the underlying, unshakable unity of the system and the society. Or so they thought.

Keywords:   Alfred Schnittke, Valentin Silvestrov, polystylism, generational change, Edison Denisov, Sofia Gubaidulina, neoromanticism, Galina Grigorieva

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