Full bibliographic information for readings on the syllabus.
Anon., 1936. “Chaos Instead of Music,” Pravda, January 28. http://soviethistory.msu.edu/1936-2/upheaval-in-the-opera/upheaval-in-the-opera-text/chaos-instead-of-music/
Astley, Tom. 2014. “Porno Para Ricardo: Rock Music and the ‘Obsession with Identity’ in Contemporary Cuba.” Popular Music no. 33 (3):455-472.
Baker, Geoffrey. 2011. “Cuba Rebelión: Underground Music in Havana.” Latin American Music Review no. 32 (1):1-38.
Baranovitch, Nimrod. 2009. “Compliance, Autonomy, and Resistance of a ‘State Artist’.” In Lives in Chinese Music, edited by Helen Rees, 173-212. Urbana and Chicago: University of Illinois Press.
Daughtry, J. Martin. 2009. “’Sonic Samizdat’: Situating Unofficial Recording in the Post-Stalinist Soviet Union.” Poetics Today no. 30 (1):27-65.
Frolova-Walker, Marina and Jonathan Walker. 2012. Music and Soviet Power, 1917-1932. Woodbridge, UK: The Boydell Press.
Frolova-Walker, Marina. 1998. “’National in Form, Socialist in Content’: Musical Nation-Building in the Soviet Republics.” Journal of the American Musicological Society no. 51 (2):331-371.
Jones, Andrew F. 2001. “Mass Music and the Politics of Phonographic Realism.” In Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham and London: Duke University Press.
Lee, Gregory. 1995. “The ‘East Is Red’ Goes Pop: Commodification, Hybridity and Nationalism in Chinese Popular Song and Its Televisual Performance.” Popular Music no. 14 (1):95-110.
Levin, Theodore. 2002. “Making Marxist-Leninist Music in Uzbekistan.” In Music & Marx: Ideas, Practice, Politics, edited by Regula Burckhardt Qureshi, 190-203. New York and London: Routledge.
Marx, Karl and Friederich Engels. 1848 . The Communist Manifesto. New York: International Publishers Co.
Miller, Toby and George Yúdice. 2002. “Command Cultures and the Postcolonial.” In Cultural Policy, 107-145. London and Thousand Oaks, CA.: Sage Publications.
Mu, Yang. 1994. “Academic Ignorance or Political Taboo? Some Issues in China’s Study of Its Folk Song Culture.” Ethnomusicology no. 38 (2):303-320.
Perris, Arnold. 1983. Music as Propaganda: Art at the Command of Doctrine in the People’s Republic of China. Ethnomusicology 27(1): 1-28.
Ross, Alex. 2007. “The Art of Fear: Music in Stalin’s Russia.” In The Rest is Noise: Listening to the Twentieth Century, 215-259. New York: Picador.
Steinholt, Yngvar B. 2012. “Siberian punk shall emerge here: Egor Letov and Grazhdanskaia Oborona.” Popular Music no. 31 (3):401-415.
Taylor, Charles. 2004. “Modern Social Imaginaries.” Public Culture no. 14 (1):91-124.
Vasquez, Alexandra T. 2013. “Cold War Kids in Concert.” In Listening in Detail, 203-234. Durham and London: Duke University Press.
Wanner, Catherine. 1996. “Nationalism on Stage: Music and Change in Soviet Ukraine.” In Retuning Culture: Musical Changes in Central and Eastern Europe, edited by Mark Slobin, 136-155. Durham: Duke University Press.
Werth, Alexander. 1949. Musical Uproar in Moscow. London: Turnstile Press.
Yurchak, Alexei. 2005. “Imaginary West” and “True Colors of Communism: King Crimson, Deep Purple, Pink Floyd.” Everything Was Forever, until It Was No More: The Last Soviet Generation. Princeton, NJ: Princeton University Press, pp 158-237.
Yurchak, Alexei. 1999. “Gagarin and the Rave Kids: Transforming Power, Identity, and Aesthetics in the Post-Soviet Night Life.” In Consuming Russia: Popular Culture, Sex, and Society Since Gorbachev, edited by A. Baker. Durham: Duke University Press, pp. 76-109.
Zemtsovsky, Izaly. 2002. “Musicological Memoirs on Marxism.” In Music & Marx: Ideas, Practice, Politics, edited by Regula Burckhardt Qureshi, 167-189. New York and London: Routledge.
Zhdanov, Andrei A. 1935. Problems of Soviet Literature: Reports and Speeches at the First Soviet Writers’ Congress, edited by H.G. Scott. New York: International Publishers.
Zhuk, Sergei I. 2010. “The Komsomol Magazine Rovesnik and the Ideology of Pop Music” and “Antipunk Campaigns, Antifascist Hysteria, and Human Rights Problems” in Rock and Roll in the Rocket City. Baltimore: Johns Hopkins University Press, pp. 239-279