War of Songs : Popular Music and Recent Russia-Ukraine Relations / Andrei Rogatchevski, Yngvar B. Steinholt, Arve Hansen, David-Emil Wickström, Andreas Umland, Troitsky Artemy

Format:

Book

Author/Creator:

Rogatchevski, Andrei, Author.

Steinholt, Yngvar B., Author.

Hansen, Arve, Author.

Wickström, David-Emil, Author.

Contributor:

Umland, Andreas, Editor.

Artemy, Troitsky, Author of introduction, etc.

Series:

Soviet and post-Soviet politics and society ; 203.

Soviet and Post-Soviet Politics and Society 203

Language:

English

Subjects (All):

Music.

Politics.

Ukraine.

Russia.

Musik.

Politik.

Russland.

Local Subjects:

Music.

Politics.

Ukraine.

Russia.

Musik.

Politik.

Russland.

Physical Description:

1 online resource (247 pages).

Edition:

1st ed.

Place of Publication:

Hannover ibidem 2019

Biography/History:

Arve Hansen is a doctoral student of Russian at the UiT - the Arctic University of Norway. Dr. Polly McMichael is Lecturer in Russian and Slavonic Studies at the University of Nottingham. Dr. Andrei Rogatchevski is Professor of Russian Literature and Culture at the UiT - the Arctic University of Norway. Dr. Yngvar Steinholt is Associate Professor of Russian at the UiT - the Arctic University of Norway. Dr. David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg in Mannheim, Germany. The author of the foreword: Artemy Troitsky is a prominent music critic and author of Back in the USSR: The True Story of Rock in Russia (1987), Tusovka: Who's Who in the New Soviet Rock Culture (1990), and Subkultura: Stories of Youth and Resistance in Russia, 1815-2017 (2017).

Summary:

This multi-authored monograph consists of the sections: “Pop Rock, Ethno-Chaos, Battle Drums, and a Requiem: The Sounds of the Ukrainian Revolution”, “The Euromaidan’s Aftermath and the Genre of Answer Song: A Musical Dialogue Between the Antagonists?”, “Exposing the Fault Lines beneath the Kremlin’s Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem”, “‘Lasha Tumbai’, or ‘Russia, Goodbye’? The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground”, and “(Post-)Soviet Rock Soundtracks the Donbas Conflict”.

Contents:

Intro

Contents

List of Tables and Pictures

Quoted lyrics

Glossary

Abbreviations

Acknowledgements and Technicalities

Foreword

Introduction

1 Pop Rock, Ethno-Chaos, Battle Drums and a Requiem: The Soundtrack of the Ukrainian Revolution

1.1 Music and the History of Protests in Ukraine

1.2 The Main Locations of Protest Music

1.2.1 The 'Political' Camp

1.2.2 The 'Apolitical' Camp

1.2.3 The Anti-Maidan Camp

1.2.4 Social Media

1.3 The Five Phases of Euromaidan

1.3.1 Rise up! (21 - 19 November 2013)

1.3.2 Vitia, Goodbye! (30 November 2013 - 15 January 2014)

1.3.3 The Burning Tyre (16 January - 20 February 2014)

1.3.4 There Swims a Duckling (21 - 23 February 2014)

1.3.5 Warriors of Light (23 February 2014 and beyond)

1.4 Common Features and General Tendencies

1.5 The Many Anthems of the Euromaidan

1.6 The Power of Music

2 Euromaidan's Aftermath and the Genre of Answer Song: A Musical Dialogue Between Antagonists?

2.1 Responses to New Base Songs

2.2 Reworkings of Old Base Songs

2.3 Conclusion

3 Exposing the Fault Lines Beneath the Kremlin's Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem

3.1 A brief history of the Russian national anthem

3.1.1 From "Gimn partii bol'shevikov" to "Rossiia sviashchennaia" - Melody and Lyrics

3.1.2 An Inviting Target

3.1.3 The Anthem's Fatherland and Presentist Utopia

3.2 The Parodies

3.2.1 Parody 1: The Veteran Dissident's Anthem

3.2.2 Parody 2: The Russian Anthem as Religious ecoNOMism

3.2.3 Parody 3: The Unofficial Anthem of the Russian Official

3.2.4 Parody 4: Death to the Empire!

3.2.5 Parody 5: The Verdict of the Singing Truck Driver

3.2.6 Parody 6: Framing is Everything - The Sebastopol Apocryph.

3.2.7 Bonus Track: A Grain of Truth and the Ideology of Masturbation

3.3 Conclusion

4 'Lasha Tumbai', or 'Russia, Good-Bye'? - The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground

4.1 Previous Research and Historical Context

4.2 GreenJolly and the ESC in the Orange Revolution aftermath

4.3 Dancing Russia Good-Bye - Verka Serdiuchka and the 2007 ESC

4.4 We Don't Wanna Put In - The 2009 ESC in Moscow

4.5 A Million Voices: Euromaidan's Impact on the ESC Stages

4.6 1944 or 2014? Jamala and Crimea

4.7 Celebrating Diversity with Iuliia Samoilova - The ESC in Kyiv 2017

4.8 Conclusion

Concluding Remarks and Possible Future Prospects

References

Bibliography

Filmography and music videos

Personal communication

Index.

Notes:

Includes bibliographical references and index.

ISBN:

9783838271736

3838271734

OCLC:

1090240458

Publisher Number:

9783838271736