Conceptual and Ideological Foundations of the Sociology of Music in USSR in 1920s


Gavriliuk Т.V.

Cand. Sci. (Soc.), Asso. Prof., Industrial University of Tyumen, Tyumen, Russia tv_gavrilyuk@mail.ru

DOI: 10.31857/S013216250002163-2
ID of the Article:


For citation:

Gavriliuk Т.V. Conceptual and Ideological Foundations of the Sociology of Music in USSR in 1920s. Sotsiologicheskie issledovaniya [Sociological Studies]. 2018. No 10. P. 112-121




Abstract

This historical-theoretical article is based on the method of the comparative analysis of the texts. There have been defined the conceptual bases of the early Soviet sociology of music as academic and ideological project such as social and economic determinism and naturalism; attention to the role of music in social dynamics; counteraction to “formalism” and cultural autonomy; aspiration to paradigmatic and disciplinary synthesis; research of music functioning in the context of everyday life; strengthening of social integration as mission of creative and scientific activity by the selection and analysis of the key works of the 1920th. The institutional musical space of this period has been described. The problems of sociology of music as a form of legitimation of the state and social order for formation of proletarian musical culture have been reconstructed within the framework of musical space of the 1920-s. It has been established that music was given the aim to structure daily routine, motivate labor activity, cultural education and support aspirations to solidary collective action on the basis of emotional acceptance of ideological postulates of that time. The research contributes to the further development of historical sociology of art; its results can be used in scientific, teaching and public work.


Keywords
sociology of music; Soviet sociology of music; sociology of art; history of sociology; musical culture of the USSR

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Content No 10, 2018