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Musicology

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I. Stravinsky’s Dialogicity as the Face of the Russian Embodiment
Glivinsky Valery V.

Two decades in the development of artistic culture in Russia, approximately from the end of 1890th to the end of 1910th, were the era of the Russian Embodiment. This was the time period during which the process of national identity formation reached its conclusion. The qualitative leap from a potential to an actual state of emblematic nationality is most clearly apparent in the music. Works by Igor Stravinsky, Sergei Prokofiev, Sergei Rachmaninoff, and Alexander Scriabin, composed within the chronological time frame of the Russian Embodiment, became lasting elements of the global cultural legacy cherished by today’s listening audiences. Their cognitive foundation is a sense of uplifting spirituality arising from a tantalizing, passionate presentiment of a new world, where kindness, justice, and beauty would reign. The roots of this feeling of uplift drew nourishment from the religious and philosophical concept of Holy Rus’ as the «Divine Kingdom» incarnate. In the context of international musical culture, this uplifting Russian Embodiment ouevre from the early 20th century offered a universally signifi cant worldview, one in striking contrast, fi guratively and semantically, to the sense of impending catastrophe that served as the cognitive basis for Austro-Germanic expressionism. Stravinsky’s dialogicity, as the face of the Russian Embodiment, rests on a cognitive subjectivity with emblematically national traits. His creative practice carried over into four separate spheres of dialogue: cultural-civilizational, content-thematic, generic-stylistic, and individual-author’s. There is no direct dependency among any of these spheres. Nevertheless, changes to the spatial and temporal coordinates of Stravinsky’s cultural-civilizational dialogue brought about alterations, in one way or another, to the subjective foundations of his other dialogical spheres.
Keywords: Russian Embodiment, dialogicity, Stravinsky, Prokofiev, Rachmaninoff, Skriabin.


DOI: 10.25791/musicology.6.2023.1319

Pp. 03-09.

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