Shostakovich's Thirteenth: The Sources, in Reading Order
Shostakovich’s Thirteenth: the sources, in reading order
TL;DR: every source in this project’s research path, in the order I’ll read them.
- A ✓ marks one I’ve finished, so the ticks show where the reading stands.
- Where I’ve written notes on a source, a short comment appears beside it.
- Russian and German titles are given in the original, with an English gloss.
- How the order was chosen: how this research works.
Before the reading: method
TL;DR: Two handbooks of research method, read before anything else.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| Ph0b | From Reliable Sources: An Introduction to Historical Methods · Music Research: A Handbook, 4th ed. | Martha C. Howell & Walter Prevenier · Laurie J. Sampsel | Cornell UP, 2001 · Oxford UP, 2026 | Several |
The event, 1961–1963
TL;DR: The poems, the premiere, and the documents of 1961 to 1963, read before any theory.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 32 | The five poems: «Бабий Яр» (Babi Yar), «Юмор» (Humor), «В магазине» (In the store), «Страхи» (Fears), «Карьера» (A career) | Yevgeny Yevtushenko | 1956–1962; «Бабий Яр» in Литературная газета, 19 Sept 1961 | Primary source: poems | ||
| 32a | Selected Poems | Yevgeny Yevtushenko; trans. Robin Milner-Gulland & Peter Levi | Penguin, 1962 | Primary source: poems | ||
| 32b | «Писатель и книга» (The writer and the book) | Boris Tomashevsky | 1928; 1959 | Book | ||
| 32c | «Реквием» (Requiem) | Anna Akhmatova | in Poems of Akhmatova, trans. Kunitz & Hayward | Primary source: poems | ||
| 32c1 | “From imitation to refutation: the canonisation and decanonisation of the metaphor of a poetic monument in Russian literature” | Katherine A. New | Шаги / Steps 4/3–4 (2018): 247–274 | Article | ||
| 32c2 | «Exegi monumentum: от оды к исповеди» (from ode to confession) | Yu. V. Shatin | Сибирский филологический журнал 2019, no. 2: 39–46 | Article | ||
| 32c3 | «Овраг смерти — овраг памяти» (Ravine of death, ravine of memory), book 1 | Pavel Polian & Dmitry Burago, comps. | Kyiv, 2021 | Primary source: poems | ||
| 32c4 | I SAW IT: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah | Maxim D. Shrayer | Academic Studies Press, 2013 | Book | ||
| 32d | Article against building over the ravine | Viktor Nekrasov | Литературная газета, 10 Oct 1959 | Primary source: press | ||
| 32e | The 1961 attacks: «Мой ответ» (My answer) · «Об одном стихотворении» (On a certain poem) · «Талант — это ответственность» (Talent is responsibility) | Aleksei Markov · D. Starikov · A. Elkin | Литература и жизнь, 24 and 27 Sept 1961 · Комсомольская правда, 4 Oct 1961 | Primary source: press | ||
| 32f | «Соло поэта и хор читателей» (The poet’s solo and the readers’ chorus) | Pavel Polian | Еврейская старина 2023, no. 4 | Article | ||
| 32g | «Поэт широкой темы и его критики» (A poet of the broad theme and his critics, 1959–60) | Yu. G. Bit-Yunan | Philosophical Letters 9/2 (2026): 114–140 | Article | ||
| 33 | Shostakovich: A Life | Laurel E. Fay | Oxford UP, 2000 | Book | ||
| 34 | Story of a Friendship (letters) | Isaak Glikman | 2001 | Primary source: letters | ||
| 34a | Shostakovich and His World: Emerson, “Shostakovich and the Russian Literary Tradition” | Laurel E. Fay, ed. | Princeton UP, 2004 | Book | ||
| 34b | The composer’s letters of 1962–63: to Shebalin, to Yevtushenko, to Shaginyan; Gmyrya to Shostakovich | Dmitri Shostakovich; Boris Gmyrya | Various; «Пятьдесят писем…», Новый мир 1982, no. 12 | Primary source: letters | ||
| 35 | Shostakovich: A Life Remembered, 2nd ed. | Elizabeth Wilson | 2006 | Primary source: memoir | ||
| 36 | «Кирилл Кондрашин рассказывает о музыке и жизни» (Kondrashin on music and life) | V. G. Razhnikov | Moscow, 1989 | Primary source: memoir | ||
| 37 | «Волчий паспорт» (Wolf’s passport) · A Precocious Autobiography | Yevgeny Yevtushenko | Moscow, 1998 · 1963 | Primary source: memoir | ||
| 38 | Khrushchev and the Arts: The Politics of Soviet Culture, 1962–1964 · «Идеологические комиссии ЦК КПСС, 1958–1964: Документы» (the Central Committee’s ideological commissions) | Priscilla Johnson & Leopold Labedz, eds. | MIT Press, 1965 · Moscow: ROSSPEN, 1998 | Primary source: documents | ||
| 39 | «Бабий Яр. Рефлексия: Антология. Эссе. Документы» (Babi Yar: reflection), the Yevtushenko chapter | Pavel Polian | Moscow, 2022 | Primary source: documents | ||
| 39a | The documents of Dec 1962 – 1963: the one press notice, Kondrashin’s endorsement, the Советская культура editorial, Ladygina’s review, the Central Committee memo of May 1963, and a letter from the Minsk performances | Various | Московская правда and Ленинское знамя, 19 Dec 1962 · Советская культура, 25 Dec 1962 · Советская Белоруссия, 2 Apr 1963 · archival | Primary source: press | ||
| 39b | The Western record, 1961–70: wire dispatches, The Observer, Commentary, the 1970 reviews | Various | 1961–1970 | Primary source: press | ||
| 40 | Dmitri Shostakovich Catalogue: The First Hundred Years and Beyond, 4th ed., the op. 113 entry | Derek C. Hulme | Scarecrow, 2010 | Reference |
The genealogy: Bekker, Asafyev, Sollertinsky
TL;DR: Bekker, Asafyev and Sollertinsky: the line of thought the symphony’s first critics stood in.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 1 | Die Sinfonie von Beethoven bis Mahler (The symphony from Beethoven to Mahler), read in the Russian translation «Симфония от Бетховена до Малера» | Paul Bekker; trans. R. Gruber, ed. Igor Glebov (Asafyev) | Berlin, 1918; Leningrad: Triton, 1926 | Primary source: lecture | ||
| 1a | Kunst und Revolution (Art and revolution) | Paul Bekker | Frankfurt: Societäts-Druckerei, 1919 | Primary source: lecture | ||
| 2 | «Симфонизм как проблема современного музыкознания» (Symphonism as a problem of contemporary musicology), preface to the Russian Bekker | Boris Asafyev (as Igor Glebov) | Leningrad: Triton, 1926 | Primary source: essay | ||
| 3 | «Исторические типы симфонической драматургии» (Historical types of symphonic dramaturgy) | Ivan Sollertinsky | Lecture 1941; pub. 1946; repr. «Исторические этюды», 1963 | Primary source: lecture | ||
| 4 | “Boris Asaf’yev and Soviet Symphonic Theory” | David Haas | The Musical Quarterly 76/3 (1992): 410–432 | Article | ||
| 4a | Paul Bekker: eine Untersuchung seiner Schriften zur Musik (a study of his writings on music), ch. I.2 | Vera Baur | Aachen: Rimbaud, 1998 | Book | ||
| 4b | Paul Bekker: Facetten eines kritischen Geistes (facets of a critical mind), the chapter on the symphony pamphlet | Andreas Eichhorn | Hildesheim: Olms, 2002 | Book | ||
| 4c | «Советская музыкальная культура 1920-х в проекте „нового человека”» (1920s Soviet musical culture in the “new man” project) | Marina Raku | Вестник Саратовской консерватории 2020, no. 4: 14–20 | Article | ||
| 4d | «Симфонизм, диалектика, историзм» (Symphonism, dialectics, historicism) | G. V. Rybintseva | Южно-Российский музыкальный альманах 2018, no. 2: 16–21 | Article | ||
| 5 | «Пути в будущее» (Paths into the future) | Boris Asafyev (as Igor Glebov) | Мелос 2 (1918) | Primary source: essay | ||
| 5a | On “sounding matter” in Asafyev’s Symphonic Etudes (Russian) | T. V. Bukina | Вестник Академии русского балета им. А. Я. Вагановой 2025, no. 6: 136–151 | Article | ||
| 6 | Beethoven, the chapter on the Ninth | Paul Bekker | Berlin, 1911; Eng. trans. 1925 | Book | ||
| 6a | Beethoven’s Ninth: A Political History | Esteban Buch | Chicago UP, 2003 | Book | ||
| 6b | „Ein Buch für das 20. Jahrhundert: Paul Bekkers Beethoven von 1911” (A book for the 20th century) | Hans-Joachim Hinrichsen | Musik & Ästhetik 20/77 (2016): 7–24 | Article | ||
| 6c | Political Beethoven | Nicholas Mathew | Cambridge UP, 2013 | Book | ||
| 7 | Die neue Ästhetik der musikalischen Impotenz (The new aesthetic of musical impotence) · „Impotenz oder Potenz?” · Schenker on Bekker in Der Tonwille | Hans Pfitzner · Paul Bekker · Heinrich Schenker | 1920 · 1921 · 1921–24 | Primary source: polemics | ||
| 7a | “Audiences, Critics and the Depurification of Music: Reflections on a 1920s Controversy” | Peter Franklin | Journal of the Royal Musical Association 114/1 (1989): 80–91 | Article | ||
| 7b | Paul Bekker’s Musical Ethics | Nanette Nielsen | Routledge, 2018 | Book |
Asafyev, in the order of the text
TL;DR: Asafyev’s Musical Form as a Process, translated alongside the reading, with the studies of it.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 8 | «Музыкальная форма как процесс» (Musical form as a process), book 1 | Boris Asafyev | 1930; 1971 ed. | Primary source: treatise | ||
| 9 | Preface to the Russian Kurth, «Основы линеарного контрапункта» (Foundations of linear counterpoint) | Boris Asafyev | Moscow: Muzgiz, 1931 | Primary source: essay | ||
| 10 | «Интонация» (Intonation), book 2 of Musical Form as a Process | Boris Asafyev | 1947; 1971 ed. | Primary source: treatise | ||
| 10 (with) | “The Soviet Russian Concepts of ‘Intonazia’ and ‘Musical Imagery’” · ”’… because there is nothing symbolic in the described phenomenon’: Asafyev’s Intonation Theory” · Russian Theoretical Thought in Music, the chapter on Musical Form as a Process | Malcolm H. Brown · Patrick Becker-Naydenov · Gordon McQuere, ed. | The Musical Quarterly 60/4 (1974) · ZGMTH 18/2 (2021) · 1983 | Several | ||
| 10a | On “auditory philology” and Asafyev (Russian) | T. V. Bukina | Международный журнал исследований культуры 2023, no. 3: 116–132 | Article | ||
| 10b | «Концепция Б. В. Асафьева» (Asafyev’s conception) | Mark Aranovsky | Искусство музыки: теория и история 2012, no. 6: 61–85 | Article | ||
| 11 | B. V. Asaf’ev’s “Musical Form as a Process”: Translation and Commentary | James Robert Tull | PhD, Ohio State University, 1976 | Dissertation | ||
| 11a | A Contextual Study of Boris Asafiev’s “Musical Form as a Process” and an Application of Concepts to His Sonata for Solo Viola | Kathryn Fiona McKay | MA, Edith Cowan University, 2015 | Thesis | ||
| 12 | Leningrad’s Modernists: Studies in Composition and Musical Thought, 1917–1932 | David Haas | Peter Lang, 1998 | Book | ||
| 12a | Formation of Russian Musicology from Sacchetti to Asafyev, 1885–1931 | Olga Panteleeva | PhD, UC Berkeley, 2015 | Dissertation | ||
| 12b | «От идеализма к неомарксизму. Часть 3. Борис Асафьев» (From idealism to neo-Marxism, part 3) | A. V. Markov | Артикульт 2021, no. 4: 110–117 | Article | ||
| 13 | The Problem of the Modern and Tradition: Early Soviet Musical Culture and the Musicological Theory of Boris Asafiev | Elina Viljanen | PhD, University of Helsinki, 2017 | Dissertation | ||
| 13a | “The formation of Soviet cultural theory of music (1917–1948)” | Elina Viljanen | Studies in East European Thought 72/2 (2020): 135–159 | Article | ||
| 14 | “Boris Asafiev and Soviet Musical Thought: Reputation and Influence” · “Boris Asafiev in 1948” | Daniel Elphick · Patrick Zuk | Muzikologija 30 (2021) · JRMA 144/1 (2019) | Several | ||
| 14a | “The Theory of Music in Russia and the Soviet Union, ca. 1650–1950” | Ellon D. Carpenter | PhD, University of Pennsylvania, 1988 | Dissertation | ||
| 14b | “Boris Asafyev’s Intonatsiya and German Folk Song in the German Democratic Republic” | Anicia Chung Timberlake | Music and Politics 14/2 (2020) | Article | ||
| 15 | Grundlagen des linearen Kontrapunkts (Foundations of linear counterpoint), or the Selected Writings | Ernst Kurth; Lee Rothfarb, ed. | 1917; 1991 | Primary source: treatise | ||
| 16 | Musikgeschichte als Geschichte der musikalischen Formwandlungen (Eng. The Story of Music) | Paul Bekker | 1926; Eng. 1927 | Book | ||
| 16a | “Beyond ‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History” | Paul Wingfield | Music Analysis 27/1 (2008): 137–177 | Article |
The Mahler bridge
TL;DR: The bridge from their theory to Shostakovich.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 17 | «Густав Малер» (Gustav Mahler) | Ivan Sollertinsky | 1932; repr. «Исторические этюды», 1963 | Primary source: essay | ||
| 18 | Gustav Mahlers Sinfonien (Mahler’s symphonies), with the English translation by Kelly Dean Hansen | Paul Bekker | 1921; trans. PhD, University of Colorado, 2012 | Primary source: book | ||
| 18a | Gustav Mahler: The Symphonies | Constantin Floros | 1993 | Book | ||
| 18b | Symphonic Metamorphoses | Raymond Knapp | Wesleyan UP, 2003 | Book | ||
| 18c | „Konstruktionsidee Finalproblem: Zu Paul Bekkers Mahlerbuch” (The finale problem: on Bekker’s Mahler book) | Bernd Sponheuer | Musik & Ästhetik 20/77 (2016): 59–74 | Article | ||
| 18d | Paul Bekker: Facetten eines kritischen Geistes, the chapter on the Mahler book | Andreas Eichhorn | Hildesheim: Olms, 2002 | Book | ||
| 18e | Mahler’s Voices: Expression and Irony in the Songs and Symphonies | Julian Johnson | Oxford UP, 2009 | Book | ||
| 18f | “Mahler and ‘The Power of Genre’” | Vera Micznik | The Journal of Musicology 12/2 (1994): 117–151 | Article | ||
| 18g | Pathos und Groteske: die deutsche Tradition im symphonischen Schaffen von Dmitri Schostakowitsch (the German tradition in Shostakovich’s symphonies), chs. 2–3 | Michael Koball | Berlin: Kuhn, 1997 | Book | ||
| 19 | “Mahler Reconstructed: Sollertinsky and the Soviet Symphony” | Pauline Fairclough | The Musical Quarterly 85/2 (2001) | Article | ||
| 19a | „Paul Bekker, der Musiksoziologe” (Bekker the music sociologist) | Andreas Eichhorn | Musik & Ästhetik 20/77 (2016): 90–105 | Article | ||
| 20 | “The ‘Perestroyka’ of Soviet Symphonism: Shostakovich in 1935” | Pauline Fairclough | Music & Letters 83/2 (2002) | Article | ||
| 20a | The Cambridge Companion to the Symphony: six chapters (Fairclough, Brodbeck, Williamson, Grimley, Fanning, Horton) | Julian Horton, ed. | Cambridge UP, 2013 | Book | ||
| 21 | «И. И. Соллертинский: жизнь и наследие» (Sollertinsky: life and legacy) | Lyudmila Mikheeva | Leningrad, 1988 | Book | ||
| 21a | On Sollertinsky’s “vulgar” sociology of ballet (Russian) | T. V. Bukina | Вестник Академии русского балета им. А. Я. Вагановой 2017, no. 5: 65–76 | Article | ||
| 21b | «Памяти И. И. Соллертинского» (In memory of Sollertinsky: memoirs, materials, studies) | Lyudmila Mikheeva, comp. | Leningrad: Sovetskii kompozitor, 1978 | Edited volume | ||
| 22 | «Письма И. И. Соллертинскому» (Letters to Sollertinsky) | Dmitri Shostakovich | St Petersburg, 2006 | Primary source: letters | ||
| 23 | «Критические статьи» (Critical articles) | Ivan Sollertinsky | Leningrad, 1963 | Primary source: texts |
Community, memory, many voices
TL;DR: The theory of community, memory and many voices, and of how audiences listen and feel.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 23a | Imagined Communities | Benedict Anderson | Verso, 1983; rev. 2006 | Book | ||
| 23a1 | The Persistence of Nationalism: From Imagined Communities to Urban Encounters | Angharad Closs Stephens | Routledge, 2013 | Book | ||
| 23b | On Collective Memory | Maurice Halbwachs; Lewis Coser, ed. | Chicago UP, 1992 | Book | ||
| 23b1 | “Genre Memories and Memory Genres: A Dialogical Analysis of May 8, 1945 Commemorations in the Federal Republic of Germany” | Jeffrey K. Olick | American Sociological Review 64/3 (1999): 381–402 | Article | ||
| 23b2 | Realms of Memory, the introduction | Pierre Nora & Lawrence D. Kritzman, eds. | Columbia UP, 1996 | Book | ||
| 23c | Problems of Dostoevsky’s Poetics | Mikhail Bakhtin; trans. Caryl Emerson | 1984 | Book | ||
| 23c1 | The Dialogic Imagination, “Discourse in the Novel” | Mikhail Bakhtin; ed. Holquist, trans. Emerson & Holquist | Texas UP, 1981 | Book | ||
| 23c2 | «„Интонационный фонд” и „интонационный словарь” (М. М. Бахтин и Б. В. Асафьев)» (Bakhtin’s “intonational fund” and Asafyev’s “intonational vocabulary”) | L. D. Polshikova | Новый филологический вестник 2006, no. 3: 5–14 | Article | ||
| 23c3 | Mikhail Bakhtin: Creation of a Prosaics | Gary Saul Morson & Caryl Emerson | Stanford UP, 1990 | Book | ||
| 23d | Rabelais and His World, the introduction | Mikhail Bakhtin | 1984 | Book | ||
| 23e | Music, Sound and Space, the introduction | Georgina Born, ed. | Cambridge UP, 2013 | Book | ||
| 23f | Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany | Alexander Rehding | Oxford UP, 2009 | Book | ||
| 23g | “Remembering through music: issues in musical commemoration since World War II” | Torbjørn Skinnemoen Ottersen | PhD, University of Cambridge, 2015 | Dissertation | ||
| 23h | “Lost and found in music: Music, consciousness and subjectivity” | Eric F. Clarke | Musicae Scientiae 18/3 (2014): 354–368 | Article | ||
| 23i1 | Toward an Aesthetic of Reception, trans. Timothy Bahti | Hans Robert Jauss | University of Minnesota Press, 1982 | Book | ||
| 23i2 | Aesthetic Experience and Literary Hermeneutics, trans. Michael Shaw | Hans Robert Jauss | University of Minnesota Press, 1982 | Book | ||
| 23i3 | Is There a Text in This Class? The Authority of Interpretive Communities | Stanley Fish | Harvard University Press, 1980 | Book | ||
| 23i4 | “Encoding/Decoding” | Stuart Hall | Culture, Media, Language, Hutchinson, 1980 (repr. Media Studies: A Reader, 3rd ed., Edinburgh UP, 2009, 28–38) | Chapter | ||
| 23i5 | Reception Theory: A Critical Introduction | Robert C. Holub | Methuen, 1984 | Book | ||
| 23i6 | “Reception Theories, Canonic Discourses, and Musical Value” | Mark Everist | Rethinking Music, ed. Cook & Everist, Oxford UP, 1999: 403–423 | Chapter | ||
| 23i7 | Rezeptionsästhetik und Rezeptionsgeschichte in der Musikwissenschaft (Reception aesthetics and reception history in musicology) | Hermann Danuser & Friedhelm Krummacher, eds. | Laaber-Verlag, 1991 | Edited volume | ||
| 23i8 | Music as Thought: Listening to the Symphony in the Age of Beethoven | Mark Evan Bonds | Princeton UP, 2006 | Book | ||
| 23i9 | The Beethoven Syndrome: Hearing Music as Autobiography | Mark Evan Bonds | Oxford UP, 2020 | Book | ||
| 23i10 | The Oxford Handbook of Music Listening in the 19th and 20th Centuries | Christian Thorau & Hansjakob Ziemer, eds. | Oxford UP, 2019 | Reference | ||
| 23i11 | Musicking: The Meanings of Performing and Listening | Christopher Small | Wesleyan UP, 1998 | Book | ||
| 23i12 | The Composer’s Voice | Edward T. Cone | University of California Press, 1974 | Book | ||
| 23i13 | “Poet’s Love or Composer’s Love?” | Edward T. Cone | Music and Text: Critical Inquiries, ed. Scher, Cambridge UP, 1992: 177–192 | Chapter | ||
| 23i14 | Unsung Voices: Opera and Musical Narrative in the Nineteenth Century | Carolyn Abbate | Princeton UP, 1991 | Book | ||
| 23i15 | The Sonic Self: Musical Subjectivity and Signification | Naomi Cumming | Indiana UP, 2000 | Book | ||
| 23i16 | A Theory of Virtual Agency for Western Art Music | Robert S. Hatten | Indiana UP, 2018 | Book | ||
| 23i17 | “Emotions in Music” | Jenefer Robinson & Robert S. Hatten | Music Theory Spectrum 34/2 (2012): 71–106 | Article | ||
| 23i18 | The Pleasures of Aesthetics: Philosophical Essays | Jerrold Levinson | Cornell UP, 1996 | Book | ||
| 23i19 | “Music and Negative Emotion” | Jerrold Levinson | Pacific Philosophical Quarterly 63/4 (1982): 327–346 | Article | ||
| 23i20 | Mimesis as Make-Believe · “What Is Abstract about the Art of Music?” | Kendall L. Walton | Harvard UP, 1990 · Journal of Aesthetics and Art Criticism 46/3 (1988): 351–364 | Several | ||
| 23i21 | “Listening with Imagination: Is Music Representational?” | Kendall L. Walton | Journal of Aesthetics and Art Criticism 52/1 (1994): 47–61 | Article | ||
| 23i22 | Engaging Characters: Fiction, Emotion, and the Cinema | Murray Smith | Clarendon Press, 1995 | Book | ||
| 23i23 | A Rhetoric of Motives | Kenneth Burke | Prentice-Hall, 1950 | Book | ||
| 23i24 | “Defining Identification: A Theoretical Look at the Identification of Audiences with Media Characters” | Jonathan Cohen | Mass Communication and Society 4/3 (2001): 245–264 | Article | ||
| 23i25 | “A Taxonomy of the Emotions of Literary Response and a Theory of Identification in Fictional Narrative” | Keith Oatley | Poetics 23/1–2 (1995): 53–74 | Article | ||
| 23i26 | Cultural Trauma and Collective Identity | Jeffrey C. Alexander, Ron Eyerman, Bernhard Giesen, Neil J. Smelser & Piotr Sztompka | University of California Press, 2004 | Book | ||
| 23i27 | Music and Social Movements: Mobilizing Traditions in the Twentieth Century | Ron Eyerman & Andrew Jamison | Cambridge UP, 1998 | Book | ||
| 23i28 | Music in Everyday Life | Tia DeNora | Cambridge UP, 2000 | Book | ||
| 23i29 | “Music and Identity” | Simon Frith | Questions of Cultural Identity, ed. Hall & du Gay, Sage, 1996: 108–127 | Chapter | ||
| 23i30 | “The Expression and Arousal of Emotion in Music” | Jenefer Robinson | Journal of Aesthetics and Art Criticism 52/1 (1994): 13–22 | Article | ||
| 23i31 | “Shostakovich’s Tenth Symphony and the Musical Expression of Cognitively Complex Emotions” | Gregory Karl & Jenefer Robinson | Journal of Aesthetics and Art Criticism 53/4 (1995): 401–416 | Article | ||
| 23i32 | “Using the Persona to Express Complex Emotions in Music” | Tom Cochrane | Music Analysis 29/1–3 (2010): 264–275 | Article | ||
| 23i33 | Deeper than Reason: Emotion and Its Role in Literature, Music, and Art | Jenefer Robinson | Clarendon Press, 2005 | Book | ||
| 23i34 | “Theorizing Musical Meaning” | Nicholas Cook | Music Theory Spectrum 23/2 (2001): 170–195 | Article | ||
| 23i35 | “Music, Empathy and Cultural Understanding” | Eric Clarke, Tia DeNora & Jonna Vuoskoski | Physics of Life Reviews 15 (2015): 61–88 | Article | ||
| 23i36 | “Worrying about Emotions in History” | Barbara H. Rosenwein | American Historical Review 107/3 (2002): 821–845 | Article | ||
| 23i37 | Emotional Communities in the Early Middle Ages | Barbara H. Rosenwein | Cornell UP, 2006 | Book | ||
| 23i38 | The Navigation of Feeling: A Framework for the History of Emotions | William M. Reddy | Cambridge UP, 2001 | Book | ||
| 23i39 | “The History of Emotions: An Interview with William Reddy, Barbara Rosenwein, and Peter Stearns” | Jan Plamper | History and Theory 49/2 (2010): 237–265 | Article | ||
| 23i40 | The History of Emotions: An Introduction, trans. Keith Tribe | Jan Plamper | Oxford UP, 2015 | Book | ||
| 23i41 | “Are Emotions a Kind of Practice (and Is That What Makes Them Have a History)?” | Monique Scheer | History and Theory 51/2 (2012): 193–220 | Article | ||
| 23i42 | “Affective Economies” | Sara Ahmed | Social Text 22/2 (2004): 117–139 | Article | ||
| 23i43 | Collective Emotions: Perspectives from Psychology, Philosophy, and Sociology | Christian von Scheve & Mikko Salmela, eds. | Oxford UP, 2014 | Edited volume | ||
| 23i44 | Interaction Ritual Chains | Randall Collins | Princeton UP, 2004 | Book | ||
| 23i45 | “Introduction: Emotional Turn? Feelings in Russian History and Culture” | Jan Plamper | Slavic Review 68/2 (2009): 229–237 | Article | ||
| 23i46 | The Collective and the Individual in Russia: A Study of Practices | Oleg Kharkhordin | University of California Press, 1999 | Book | ||
| 23i47 | “Emotional Responses to Music: The Need to Consider Underlying Mechanisms” | Patrik N. Juslin & Daniel Västfjäll | Behavioral and Brain Sciences 31/5 (2008): 559–575 | Article | ||
| 23i48 | “From Everyday Emotions to Aesthetic Emotions” · Musical Emotions Explained | Patrik N. Juslin | Physics of Life Reviews 10/3 (2013): 235–266 · Oxford UP, 2019 | Several | ||
| 23i49 | “Emotions Evoked by the Sound of Music: Characterization, Classification, and Measurement” | Marcel Zentner, Didier Grandjean & Klaus R. Scherer | Emotion 8/4 (2008): 494–521 | Article | ||
| 23i50 | “Mixed Affective Responses to Music with Conflicting Cues” | Patrick G. Hunter, E. Glenn Schellenberg & Ulrich Schimmack | Cognition and Emotion 22/2 (2008): 327–352 | Article | ||
| 23i51 | “An Integrative Review of the Enjoyment of Sadness Associated with Music” | Tuomas Eerola, Jonna K. Vuoskoski et al. | Physics of Life Reviews 25 (2018): 100–121 | Article | ||
| 23i52 | “The Pleasure Evoked by Sad Music Is Mediated by Feelings of Being Moved” | Jonna K. Vuoskoski & Tuomas Eerola | Frontiers in Psychology 8 (2017): 439 | Article | ||
| 23i53 | “Towards a Psychological Construct of Being Moved” | Winfried Menninghaus et al. | PLOS ONE 10/6 (2015): e0128451 | Article | ||
| 23i54 | “The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception” | Winfried Menninghaus et al. | Behavioral and Brain Sciences 40 (2017): e347 | Article | ||
| 23i55 | “The Sudden Devotion Emotion: Kama Muta and the Cultural Practices Whose Function Is to Evoke It” | Alan Page Fiske, Beate Seibt & Thomas Schubert | Emotion Review 11/1 (2019): 74–86 | Article | ||
| 23i56 | Strong Experiences with Music: Music Is Much More Than Just Music, trans. Rod Bradbury | Alf Gabrielsson | Oxford UP, 2011 | Book | ||
| 23i57 | “Changing Beliefs and Behavior through Experience-Taking” | Geoff F. Kaufman & Lisa K. Libby | Journal of Personality and Social Psychology 103/1 (2012): 1–19 | Article | ||
| 23i58 | “The Role of Transportation in the Persuasiveness of Public Narratives” | Melanie C. Green & Timothy C. Brock | Journal of Personality and Social Psychology 79/5 (2000): 701–721 | Article | ||
| 23i59 | “Music Listening Evokes Implicit Affiliation” | Jonna K. Vuoskoski, Eric F. Clarke & Tia DeNora | Psychology of Music 45/4 (2017): 584–599 | Article | ||
| 23i60 | “Psychosocial Effects of Perceived Emotional Synchrony in Collective Gatherings” | Darío Páez, Bernard Rimé et al. | Journal of Personality and Social Psychology 108/5 (2015): 711–729 | Article | ||
| 23i61 | “Music Listening in Classical Concerts: Theory, Literature Review, and Research Program” | Melanie Wald-Fuhrmann, Hauke Egermann et al. | Frontiers in Psychology 12 (2021): 638783 | Article | ||
| 23i62 | “Physiological Synchrony in Audiences of Live Concerts” | Wolfgang Tschacher, Steven Greenwood et al. | Psychology of Aesthetics, Creativity, and the Arts 17/2 (2023): 152–162 | Article |
The symphony in the Soviet reading
TL;DR: The symphony as its own critics and scholars wrote it.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| Ph4 | Review of five German Shostakovich books | David Fanning | Music & Letters 90/3 (2009): 505–510 | Review | ||
| 24 | «Шостакович-симфонист: Драматургия, эстетика, стиль» (Shostakovich the symphonist) | Marina Sabinina | Moscow: Muzyka, 1976 | Book | ||
| 25 | «Симфонические искания» (Symphonic quests: the problem of the symphony genre in Soviet music, 1960–1975) | Mark Aranovsky | Leningrad, 1979 | Book | ||
| 25a | «Симфония и симфонизм Шостаковича в контексте эпохи» (Shostakovich’s symphony and symphonism in their era) | N. L. Nechaeva | Ярославский педагогический вестник 2006, no. 3: 38–42 | Article | ||
| 25b | «Мемориальность в отечественной музыке последней трети XX века» (Memoriality in late-20th-century Russian music) | T. S. Andrushchak | Candidate dissertation, 2008 | Dissertation | ||
| 26 | «Наш современник: Творчество Шостаковича» (Our contemporary: Shostakovich’s work) | Lev Danilevich | Moscow, 1965 | Book | ||
| 27 | «Шостакович: жизнь и творчество» (Shostakovich: life and work), vol. 2 | Sofia Khentova | Leningrad, 1986 | Book | ||
| 28 | «Дмитрий Шостакович: опыт феноменологии творчества» (Shostakovich: a phenomenology of his work) | Levon Akopyan (Hakobian) | St Petersburg, 2004 | Book | ||
| 28a | Commentary to the New Collected Works, vol. 13 | Manashir Yakubov | Moscow: DSCH, 2011 | Chapter | ||
| 28b | «История создания, премьеры и запрета Тринадцатой симфонии Дмитрия Шостаковича» (The history of the creation, premiere and banning of the Thirteenth) | Vladislav Petrov | Philharmonica 2023, no. 1: 26–36 | Article | ||
| 28c | The same article, English version | Vladislav Petrov | Philharmonica 2023, no. 1: 18–24 | Article | ||
| 28d | «Тринадцатая симфония: новая дуэль Шостаковича с властью» (The Thirteenth: Shostakovich’s new duel with power) | Vladislav Petrov | Actualscience 1/2 (2015): 77–80 | Article | ||
| 28e | «Симфоническая музыка и Холокост: Дмитрий Шостакович и Мечислав Вайнберг» (Symphonic music and the Holocaust: Shostakovich and Weinberg) | E. A. Soloshenko | Метаморфозис 5/2 (2021): 15–26 | Article | ||
| 28f | «Пламя Бабьего Яра» (The flame of Babi Yar: Shostakovich’s Thirteenth Symphony) | Sofia Khentova | St Petersburg, 1997 | Book | ||
| 28g | «Еврейская доминанта Дмитрия Шостаковича» (Shostakovich’s Jewish dominant), the chapter on the Thirteenth | D. G. Tsvibel | Petrozavodsk, 2004 | Book | ||
| 28h | «Спор о памяти» (The dispute over memory: Yevtushenko’s «Бабий Яр» in 1960s Soviet politics) · «Я пришёл к тебе, Бабий Яр…» (memoir) | Yu. G. Bit-Yunan & M. R. Nagornaya · Yevgeny Yevtushenko | Philosophical Letters 8/2 (2025): 186–218 · Moscow: Tekst, 2012 | Several | ||
| 28i | «Лейтмотивы Шостаковича» (Shostakovich’s leitmotifs) | Levon Akopyan (Hakobian) | Актуальные проблемы высшего музыкального образования 2017, no. 3: 25–34 | Article | ||
| 29 | «Функциональные основы музыкальной формы» (The functional foundations of musical form) | Viktor Bobrovsky | Moscow, 1978 | Book | ||
| 29a | «О психологии музыкального восприятия» (On the psychology of musical perception) | E. V. Nazaikinsky | Muzyka, Moscow, 1972 | Book | ||
| 29b | «О закономерностях и средствах художественного воздействия музыки» (On the laws and means of music’s artistic effect) | V. V. Medushevsky | Muzyka, Moscow, 1976 | Book | ||
| 30 | «Симфонии Д. Д. Шостаковича: Путеводитель» · «Симфонии Шостаковича» (guides to the symphonies) | Lev Mazel · Genrikh Orlov | 1960 · 1961 | Several | ||
| 30a | “Defining and Defending Music Analysis in the Soviet 1930s” | Daniil Zavlunov | Music and Politics 14/2 (2020) | Article | ||
| 31 | «Волнующие вопросы» (Stirring questions) · «Восьмая симфония Д. Шостаковича» (Shostakovich’s Eighth) | Boris Asafyev | Советская музыка 1936, no. 5 · 1945 | Primary source: essays | ||
| 31a | A History of Russian Music | Francis Maes | California UP, 2002 | Book | ||
| 31b | Geschichte der russischen und der sowjetischen Musik, vol. 2 (History of Russian and Soviet music: the 20th century) | Dorothea Redepenning | Laaber, 2008 | Book | ||
| 31c | “The Formation of a Personality”: Shostakovich’s Fifth Symphony and the Politics of Its Hermeneutic Reception | Ki Ki Leung | PhD, CUNY Graduate Center, 2022 | Dissertation | ||
| 31d | Symphonic Stalinism: Claiming Russian Musical Classics for the New Soviet Listener, 1932–1953 | Jiří Smrž | PhD, University of Toronto, 2011 | Dissertation | ||
| 31e | “Music Criticism in the USSR from Asafyev to Cherednichenko” | Peter J. Schmelz | The Cambridge History of Music Criticism, Cambridge UP, 2019 | Chapter |
The Jewish question
TL;DR: The Jewish question in Shostakovich and in Soviet policy.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 40a | The Complete Black Book of Russian Jewry | Ilya Ehrenburg & Vasily Grossman, eds.; trans. David Patterson | 2002 | Primary source: documents | ||
| 40b | Life and Fate | Vasily Grossman; trans. Robert Chandler | NYRB Classics, 2006 | Primary source: novel | ||
| The Jewish idiom | ||||||
| 40c | The Most Musical Nation: Jews and Culture in the Late Russian Empire | James Loeffler | Yale UP, 2010 | Book | ||
| 41 | “The Double Meaning of Jewish Elements in Dimitri Shostakovich’s Music” | Joachim Braun | The Musical Quarterly 71/1 (1985): 68–80 | Article | ||
| 41a | „‚Mir scheint, ich bin ein Jude’: Zum ‚Jüdischen’ im Werk von Šostakovič” (“I seem to be a Jew”: on the “Jewish” in Shostakovich) | Andreas Wehrmeyer | Osteuropa 56/8 (2006): 75–92 | Article | ||
| 41b | “Russian theorists on modality in Shostakovich’s music” | Ellon D. Carpenter | Shostakovich Studies, ed. David Fanning, Cambridge UP, 1995: 76–112 | Chapter | ||
| 41c | «„Эоническая” смерть еврейской культуры» (The “eonic” death of Jewish culture: From Jewish Folk Poetry) | V. S. Orlov | Актуальные проблемы высшего музыкального образования 2018, no. 3: 34–39 | Article | ||
| 41d | Aspects of the “Jewish” Folk Idiom in Dmitri Shostakovich’s String Quartet No. 4, Op. 83 | Jada E. Watson | MA, University of Ottawa, 2008 | Thesis | ||
| 41e | “Jewish existential irony as musical ethos in the music of Shostakovich” | Esti Sheinberg | The Cambridge Companion to Shostakovich, Cambridge UP, 2008: 350–367 | Chapter | ||
| 41f | Dmitri Schostakowitsch und das jüdische musikalische Erbe / Shostakovich and the Jewish Heritage in Music: seven chapters | Ernst Kuhn, Andreas Wehrmeyer & Günter Wolter, eds. | Berlin: Kuhn, 2001 | Book | ||
| 41g | «Шостакович и евреи?» (Shostakovich and the Jews?) | Vladimir Zak | Moscow: Sputnik+, 2013 | Book | ||
| 41h | “Polyphony and Racial Identity: Schoenberg, Heinrich Berl, and Richard Eichenauer” | Karen Painter | Music and Politics 5/2 (2011) | Article | ||
| 41i | Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music | Klára Móricz | California UP, 2008 | Book | ||
| 41j | “The institutions of Jewish musical meaning” | Judah M. Cohen | The Cambridge Companion to Jewish Music, Cambridge UP, 2015 | Chapter | ||
| 41k | “Nationally Informed: The Politics of National Minority Music during Late Stalinism” | Leah Goldman | Jahrbücher für Geschichte Osteuropas 67/3 (2019) | Article | ||
| 42 | Irony, Satire, Parody, and the Grotesque in the Music of Shostakovich | Esti Sheinberg | Ashgate, 2000 | Book | ||
| Soviet policy and war memory | ||||||
| 43 | A Century of Ambivalence: The Jews of Russia and the Soviet Union, 1881 to the Present, 2nd ed. | Zvi Gitelman | 2001 | Book | ||
| 43a | The Living and the Dead | Nina Tumarkin | 1994 | Book | ||
| 43b | Making Sense of War | Amir Weiner | Princeton UP, 2001 | Book | ||
| 43b1 | Soviet Jewish Stepchild: The Holocaust in the Soviet Mindset, 1941–1964 | Kiril Feferman | VDM, 2009 | Book | ||
| 43b2 | First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938–1946 | Jeremy Hicks | Pittsburgh UP, 2012 | Book | ||
| 43b3 | «Культ Победы в эпоху телевидения» (The Victory cult in the television age) | Jeremy Hicks | Телекинет 2026, no. 2: 6–27 | Article | ||
| 43b4 | “Victim-heroes in collective memory: Surviving Soviet repressions heroically” | Daria Khlevnyuk | Memory Studies 16/2 (2023): 319–332 | Article | ||
| 43b5 | The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe | Olga Gershenson | Rutgers UP, 2013 | Book | ||
| 43c | The Soviet Government and the Jews, 1948–1967 | Benjamin Pinkus | Cambridge UP, 1984 | Book | ||
| 43c1 | «Тайная политика Хрущёва: власть, интеллигенция, еврейский вопрос» (Khrushchev’s secret policy: power, the intelligentsia, the Jewish question) | Gennady Kostyrchenko | Moscow, 2012 | Book | ||
| 43d | Stalin’s Secret Pogrom | Joshua Rubenstein & Vladimir P. Naumov, eds. | Yale UP, 2001 | Primary source: documents | ||
| 44 | The Jewish Century | Yuri Slezkine | 2004 | Book | ||
| 44a | Yellow Star, Red Star: Holocaust Remembrance after Communism | Jelena Subotić | Cornell UP, 2019 | Book | ||
| 44b | “Holocaust memory and political legitimacy in contemporary Europe” | Jelena Subotić | Holocaust Studies 29/4 (2023): 502–519 | Article | ||
| 44c | “Trauma in world politics: Memory dynamics between different victim groups” | Kathrin Bachleitner | Journal of Peace Research 62/3 (2025): 629–642 | Article | ||
| 44d | “Antisemitism in Russia: evaluating its decline and potential resurgence” | Thomas Sherlock | Post-Soviet Affairs 38/3 (2022): 175–205 | Article | ||
| Babi Yar and its memory | ||||||
| 45 | “Babi Yar: Site of Mass Murder, Ravine of Oblivion” | Karel C. Berkhoff | USHMM Occasional Paper, 2012 | Article | ||
| 45a | “The Transformations of Babi Yar” | Richard Sheldon | Soviet Society and Culture, ed. Thompson & Sheldon, Westview, 1988: 124–161 | Chapter | ||
| 45b | “Babi Yar and the Struggle for Memory, 1944–2004” | Jeffrey Mankoff | Ab Imperio 2004/2: 393–415 | Article | ||
| 45c | “Dina Pronicheva’s Story of Surviving the Babi Yar Massacre: German, Jewish, Soviet, Russian, and Ukrainian Records” | Karel C. Berkhoff | The Shoah in Ukraine, ed. Brandon & Lower, Indiana UP, 2008 | Chapter | ||
| 46 | «Бабий Яр: роман-документ» (Babi Yar: a documentary novel), the uncensored text | Anatoly Kuznetsov | Posev, 1970; Eng. trans. David Floyd, 1970 | Primary source: novel | ||
| 46a | Narratives of Return: Babii Iar and Holocaust Literature in the Soviet Union | Naya Lekht | PhD, UCLA, 2013 | Dissertation | ||
| 47 | Unwelcome Memory: Holocaust Monuments in the Soviet Union | Arkadi Zeltser | Yad Vashem, 2018 | Book | ||
| 47a | «Память о Холокосте и этническая идентичность в семьях советских евреев» (Holocaust memory and ethnic identity in Soviet Jewish families) | Mariia Gavrilova | Judaic-Slavic Journal 2024, no. 1–2: 9–36 | Article | ||
| 47b | «Змиёвская балка: память о Холокосте в конкуренции жертв» (Zmievskaya Balka: Holocaust memory in the competition of victims) | A. A. Kirzyuk | Фольклор и антропология города 6/1–2 (2024): 14–38 | Article | ||
| 48 | Babyn Yar: History and Memory | Vladyslav Hrynevych & Paul Robert Magocsi, eds. | 2024 | Book | ||
| 49 | In the Shadow of the Shtetl | Jeffrey Veidlinger | 2013 | Book |
The Thaw and Soviet self-fashioning
TL;DR: The Thaw, Soviet self-fashioning, and Soviet audiences.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| Sincerity and the sixties generation | ||||||
| 49a | «Об искренности в литературе» (On sincerity in literature) | Vladimir Pomerantsev | Новый мир 1953, no. 12 | Primary source: essay | ||
| 49a1 | «Говорить по-большевистски? Язык партийца в литературе „оттепели”» (Speaking Bolshevik? The Party member’s language in Thaw literature) | T. V. Savina | Исторический курьер 2022, no. 6: 164–179 | Article | ||
| 49a2 | «Исповедальное начало в русской прозе 1960-х годов» (The confessional element in 1960s Russian prose) | T. V. Sadovnikova | Candidate dissertation, Yekaterinburg, 2004 | Dissertation | ||
| 49a3 | Sincerity after Communism: A Cultural History | Ellen Rutten | Yale UP, 2017 | Book | ||
| 49a4 | “The Diaristic Form and Subjectivity under Khrushchev” | Anatoly Pinsky | Slavic Review 73/4 (2014): 805–827 | Article | ||
| 50 | Myth, Memory, Trauma: Rethinking the Stalinist Past in the Soviet Union, 1953–70 | Polly Jones | Yale UP, 2013 | Book | ||
| 50a | The Soviet Sixties | Robert Hornsby | Yale UP, 2023 | Book | ||
| 50a1 | “Breaking the Silence: Iurii Bondarev’s Quietness between the ‘Sincerity’ and ‘Civic Emotion’ of the Thaw” | Polly Jones | Interpreting Emotions in Russia and Eastern Europe, ed. Steinberg & Sobol, Northern Illinois UP, 2011: 152–176 | Chapter | ||
| 50b | Exit Stalin | Mark B. Smith | 2026 | Book | ||
| 50c | Zhivago’s Children | Vladislav Zubok | Belknap, 2009 | Book | ||
| 50c1 | A Literature of Conscience: Yevtushenko’s Post-Stalin Poetry | Amy Kathleen Safarik | PhD, University of Waterloo, 2008 | Dissertation | ||
| 50c2 | «Феномен „эстрадности” в культуре оттепели» (The phenomenon of estrada poetry in Thaw culture) | I. V. Kondakov | Художественная культура 2018, no. 4: 82–98 | Article | ||
| 50c3 | On the construction of the “sixties generation” in the magazine Юность (Russian) | Irina Kaspe | Вестник культурологии 2017, no. 2: 50–52 | Article | ||
| 50d | Revolution on My Mind | Jochen Hellbeck | Harvard UP, 2006 | Book | ||
| 50e | Everything Was Forever, Until It Was No More | Alexei Yurchak | Princeton UP, 2006 | Book | ||
| 50e1 | «Самоопределение „без маски” в исполнительстве и его восприятии в 1960–1980-е» (Self-definition “without a mask” in performance, 1960s–80s) | G. L. Tulchinsky | Художественная культура 2024, no. 1: 34–49 | Article | ||
| 50e2 | “Seriousness, Humor, and the Contradictions of Late Socialism” | Ann Komaromi | The Oxford Handbook of the Russian Novel, Oxford UP, 2025: 583–598 | Chapter | ||
| 50e3 | State Laughter: Stalinism, Populism, and Origins of Soviet Culture | Evgeny Dobrenko & Natalia Jonsson-Skradol | Oxford UP, 2022 | Book | ||
| 50e4 | “From Peace to Freedom: How Classical Music Became Political in the Soviet Union, 1964–1982” | Boris Belge | Ab Imperio 2013/2: 279–297 | Article | ||
| 50f | Tear Off the Masks! Identity and Imposture in Twentieth-Century Russia | Sheila Fitzpatrick | Princeton UP, 2005 | Book | ||
| 50g | In Stalin’s Time: Middleclass Values in Soviet Fiction | Vera S. Dunham | Cambridge UP, 1976 | Book | ||
| 51 | The Readers of Novyi Mir: Coming to Terms with the Stalinist Past | Denis Kozlov | Harvard UP, 2013 | Book | ||
| 51a | The Making of the State Reader | Evgeny Dobrenko | Stanford UP, 1997 | Book | ||
| 51b | “Probing the Heart and Mind of the Viewer: Scientific Studies of Film and Theater Spectators in the Soviet Union, 1917–1936” | Anna Toropova | Slavic Review 76/4 (2017): 931–958 | Article | ||
| 51c | Feeling Revolution: Cinema, Genre, and the Politics of Affect under Stalin | Anna Toropova | Oxford UP, 2020 | Book | ||
| 51d | “Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s” | Pauline Fairclough | Journal of Musicology 35/3 (2018): 336–367 | Article | ||
| 51e | «Российская империя чувств: Подходы к культурной истории эмоций» (The Russian empire of feelings) | Jan Plamper, Schamma Schahadat & Marc Elie, eds. | Novoe literaturnoe obozrenie, Moscow, 2010 | Edited volume | ||
| 51f | “Who Will Beat Whom? Soviet Popular Reception of the American National Exhibition in Moscow, 1959” | Susan E. Reid | Kritika 9/4 (2008): 855–904 | Article | ||
| 51g | “‘I Have Not Read, but I Will Say’: Soviet Literary Audiences and Changing Ideas of Social Membership, 1958–66” | Denis Kozlov | Kritika 7/3 (2006): 557–597 | Article | ||
| 51h | “Picasso in Thaw Culture” | Eleonory Gilburd | Cahiers du monde russe 47/1–2 (2006): 65–108 | Article | ||
| 51i | To See Paris and Die: The Soviet Lives of Western Culture | Eleonory Gilburd | Belknap Press of Harvard UP, 2018 | Book | ||
| 51j | “In the Name of the People: The Manège Affair Revisited” | Susan E. Reid | Kritika 6/4 (2005): 673–716 | Article | ||
| 51k | Khrushchev’s Cold Summer: Gulag Returnees, Crime, and the Fate of Reform after Stalin | Miriam Dobson | Cornell UP, 2009 | Book | ||
| 51l | Moscow Prime Time: How the Soviet Union Built the Media Empire That Lost the Cultural Cold War | Kristin Roth-Ey | Cornell UP, 2011 | Book | ||
| 51m | “From Spectator to ‘Differentiated’ Consumer: Film Audience Research in the Era of Developed Socialism (1965–80)” | Joshua First | Kritika 9/2 (2008): 317–344 | Article | ||
| 51n | «Печи Освенцима и пепел Хиросимы: страх войны в режиссуре советских массовых мероприятий 1950–1980-х годов» (Auschwitz ovens and Hiroshima ashes: fear of war in the staging of Soviet mass events) | Aleksei Popov | Novoe literaturnoe obozrenie 162 (2020) | Article | ||
| 51o | «Четыре жизни России в зеркале опросов общественного мнения. Жизнь 1-я: Эпоха Хрущева» (Four lives of Russia in the mirror of opinion polls: the Khrushchev era) | Boris Grushin | Progress-Traditsiia, Moscow, 2001 | Book | ||
| 51p | «Музыка и слушатель: Опыт социологического исследования» (Music and the listener: a sociological study) | V. S. Tsukerman | Muzyka, Moscow, 1972 | Book | ||
| 51q | «Социология и музыкальная культура» (Sociology and musical culture) | A. N. Sokhor | Sovetskii kompozitor, Moscow, 1975 | Book | ||
| 51r | «Изучение аудитории искусства: в поисках сущности» (Studying the art audience) | A. A. Ushkarev | Kul’tura i iskusstvo 2018, no. 5 | Article | ||
| Music, power and the mass song | ||||||
| 52 | Creative Union: The Professional Organization of Soviet Composers, 1939–1953 | Kiril Tomoff | Cornell UP, 2006 | Book | ||
| 52a | Art of Intransigence: Soviet Composers and Art Music Censorship, 1945–1957 | Leah Goldman | PhD, University of Chicago, 2015 | Dissertation | ||
| 52b | «Музыка и власть (постсталинский период)» (Music and power: the post-Stalin period) | Alla Bogdanova | Moscow: Nasledie, 1995 | Book | ||
| 52c | Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw | Peter J. Schmelz | Oxford UP, 2009 | Book | ||
| 53 | Classics for the Masses: Shaping Soviet Musical Identity under Lenin and Stalin | Pauline Fairclough | Yale UP, 2016 | Book | ||
| 54 | Stalin’s Music Prize | Marina Frolova-Walker | Yale UP, 2016 | Book | ||
| 55 | Music and Soviet Power, 1917–1932 | Marina Frolova-Walker & Jonathan Walker | Boydell, 2012 | Primary source: documents | ||
| 55a | Music for the Revolution | Amy Nelson | Penn State UP, 2004 | Book | ||
| 55a1 | Soundtracking Sovietness: Daily Life, Labor, and the Power of Song in Russia, 1920–1980 | Elizabeth Abosch | PhD, University of Illinois, 2024 | Dissertation | ||
| 55a2 | «Тематизация времени в советской массовой песне» (Time in the Soviet mass song) | A. Ganzha | Логос 2014, no. 3: 41–66 | Article | ||
| 55a3 | «Соцреалистическая диалектика массовой песни 1930-х годов» (The socialist-realist dialectic of the 1930s mass song) | A. Nikonov | Логос 36/1 (2026): 271–292 | Article | ||
| 55a4 | «Кантата и оратория в контексте „большого стиля” советской музыки» (Cantata and oratorio in the Soviet “grand style”) | I. S. Vorobyov | Opera musicologica 2012, no. 4: 74–96 | Article | ||
| 55a5 | “Emotional Blueprints: War Songs as an Affective Medium” | Serguei Alex. Oushakine | Interpreting Emotions in Russia and Eastern Europe, ed. Steinberg & Sobol, Northern Illinois UP, 2011: 248–276 | Chapter | ||
| 56 | “Everyday Symphonism: Boris Asafiev’s Soviet Theory of Popular Music” | Elina Viljanen | Routledge, c. 2022 | Chapter | ||
| The male voice | ||||||
| 56a | Choral Performance in Pre-Revolutionary Russia | Vladimir Morosan | 1986; 1994 | Book | ||
| 56b | Russian Masculinities in History and Culture | Barbara Evans Clements, Rebecca Friedman & Dan Healey, eds. | Palgrave, 2002 | Book | ||
| 56c | The Fate of the New Man: Representing and Reconstructing Masculinity in Soviet Visual Culture, 1945–1965 | Claire E. McCallum | Northern Illinois UP, 2018 | Book | ||
| 56d | Musicology and Difference: Gender and Sexuality in Music Scholarship | Ruth A. Solie, ed. | California UP, 1993 | Book | ||
| 57 | “The Quiet Rehabilitation of the Brick Factory” · The Many Lives of Khrushchev’s Thaw · Russian Music and Nationalism from Glinka to Stalin | Robert A. Rothstein · Stephen Bittner · Marina Frolova-Walker | Slavic Review 39/3 (1980) · 2008 · 2007 | Several |
Recent readings and sparring partners
TL;DR: Recent studies of the Thirteenth, read as sparring partners.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 58 | “Performing Pasts: Reading Collective Memory in Shostakovich’s Thirteenth Symphony” | Adam Weitzer | Monash University, 2020 | Thesis | ||
| 58a | “Shostakovich, Yevtushenko, and Criticism in the Thirteenth Symphony” | John Peter Hausmann | MM thesis, University of Louisville, 2010 | Thesis | ||
| 58a1 | “Dmitri Shostakovich: A Critical Study of the Babi Yar Symphony with a Survey of His Works Involving Chorus” | Harry Mechell | DMA, University of Illinois, 1985 | Dissertation | ||
| 58a2 | Expression and Structure: Processes of Integration in the Large-Scale Instrumental Music of Dmitri Shostakovich, the pages on the Thirteenth | Richard M. Longman | Garland, 1989 | Book | ||
| 58a3 | Dmitri Schostakowitsch – eine sowjetische Tragödie: Rezeptionsgeschichte (a Soviet tragedy: reception history), the chapter on the Thirteenth | Günter Wolter | Peter Lang, 1991 | Book | ||
| 58a4 | „Zur Diastase von Wort und Musik in Šostakovičs 12. und 13. Symphonie” (word against music in the Twelfth and Thirteenth) | Kadja Grönke | Dmitri Schostakowitsch: Das Spätwerk, ed. Gervink & Hiekel, Sandstein, 2006: 80–89 | Chapter | ||
| 58a5 | „Politische Dichtung in Schostakowitschs Symphonik” (Political poetry in Shostakovich’s symphonies) | Kadja Grönke | Schostakowitsch und die Symphonie, ed. Hein & Steinbeck, Peter Lang, 2007: 61–74 | Chapter | ||
| 58b | “Babyn Yar Set to Music,” in The Ravine of Memory | Shay A. Pilnik | Purdue UP, 2025: 80–90 | Chapter | ||
| 58c | “Babi Yar Memorialised: in Soviet Poetry, Art, and Music” | Benjamin Goodman | Music, Mortality, Memory, ed. Davies & McCullough, Brill, 2026: 67–96 | Chapter | ||
| 58d | “Narratives in Shostakovich’s Thirteenth Symphony” | Kirill Zikanov | DSCH Journal 47 (2017) | Article | ||
| 58e | “On Preparing a Choir to Perform ‘Babi Yar’: An Interview with Erica J. Washburn” | Andrew Schartmann | DSCH Journal 60 (2024): 52–55 | Article | ||
| 58f | “‘In Memory of Our Murdered (Jewish) Children’: Hearing the Holocaust in Soviet Jewish Culture” | James Loeffler | Slavic Review 73/3 (2014): 585–611 | Article | ||
| 58f1 | Arnold Schoenberg’s “A Survivor from Warsaw” in Postwar Europe | Joy H. Calico | California UP, 2014 | Book | ||
| 58f2 | “Motherhood, Billboard, and the Holocaust: Perceptions and Receptions of Górecki’s Symphony No. 3” | Luke Howard | The Musical Quarterly 82/1 (1998): 131–159 | Article | ||
| 58f3 | Performing Pain: Music and Trauma in Eastern Europe | Maria Cizmic | Oxford UP, 2012 | Book | ||
| 58f4 | “Valentin Silvestrov and the symphonic monument in ruins” | Samuel Wilson | Transformations of Musical Modernism, ed. Guldbrandsen & Johnson, Cambridge UP, 2015: 201–220 | Chapter | ||
| 58f5 | “‘Alles ist hin!’: Images and Commemoration in Thomas Larcher’s Symphonie Nr. 2: Kenotaph (2015–2016)” | M. Brady | Austrian Studies 26 (2018) | Article | ||
| 58g | “Iterations of Babi Yar” | Joan Peterson | Journal of Ecumenical Studies 46/4 (2011): 585–598 | Article | ||
| 58h | Time’s Echo: The Second World War, the Holocaust, and the Music of Remembrance | Jeremy Eichler | Knopf, 2023 | Book | ||
| 58i | Dmitry Shostakovich (Critical Lives) · The Ashes of Babi Yar | Pauline Fairclough · Antonella Salomoni | Reaktion, 2019 · Wisconsin UP, 2025 | Several | ||
| 58j | “Dmitri Shostakovich and Jewish Music: The Voice of an Oppressed People” | Alexander Tentser | The Jewish Experience in Classical Music, Cambridge Scholars, 2014 | Chapter | ||
| 58k | Shorter pieces: “Decoding the music masterpieces: Shostakovich’s Babi Yar” · on Yevtushenko’s civic lyricism in «Бабий Яр» · a BA thesis on the poem and the symphony | Daniel Elphick · Boris Dralyuk · Silver | The Conversation, 2017 · Toronto Slavic Quarterly 43 (2013) · University of British Columbia, 2019 | Several | ||
| 58l | Mieczysław Weinberg: In Search of Freedom | David Fanning | Wolke, 2010 | Book | ||
| 58l1 | Music behind the Iron Curtain: Weinberg and his Polish Contemporaries | Daniel Elphick | Cambridge UP, 2019 | Book | ||
| 58m | “Shostakovich and Bakhtin: A Critical Investigation” | Kristian Hibberd | PhD, Goldsmiths, University of London, 2005 | Dissertation | ||
| 58n | Symphonic Spectacles: Form, Identity, and Hybridity in the Early Twentieth Century | Sam Reenan | Oxford UP, 2025 | Book | ||
| 58o | “The Historical Events of the 20th Century and the Music of Shostakovich: A Study of the Relationship between Music and Politics” | Kyungtaek Oh | Culture and Politics 6/4 (2019): 51–83 | Article | ||
| 59 | “Personal integrity and public service: the voice of the symphonist” · “Slava! Shostakovich’s ‘official compositions’” | Eric Roseberry · Pauline Fairclough | The Cambridge Companion to Shostakovich, Cambridge UP, 2008 | Chapter | ||
| 60 | A Shostakovich Companion | Michael Mishra | Praeger, 2008 | Book | ||
| 61 | Testimony · “Shostakovich versus Volkov: Whose Testimony?” · Shostakovich Reconsidered · A Shostakovich Casebook | Solomon Volkov · Laurel E. Fay · Allan Ho & Dmitry Feofanov · Malcolm Hamrick Brown, ed. | Harper & Row, 1979 · Russian Review 39/4 (1980) · Toccata, 1998 · Indiana UP, 2004 | Several | ||
| 62 | “Shostakovich and Us,” in Defining Russia Musically | Richard Taruskin | Princeton UP, 1997 | Chapter | ||
| 63 | Looking Beyond Shostakovich’s Thirteenth Symphony | Juana Granados | Claremont, 2018 | Thesis | ||
| 64 | Shostakovich Studies · Shostakovich Studies 2 | David Fanning, ed. · Pauline Fairclough, ed. | Cambridge UP, 1995 · 2010 | Several |
The score and the recordings
TL;DR: The score and the recordings, analyzed in full once I know what to listen for.
| # | Work | Author | Venue | Type | ✓ | Comment |
|---|---|---|---|---|---|---|
| 65 | Symphony No. 13, op. 113, full score, with commentary | Dmitri Shostakovich; commentary Manashir Yakubov | New Collected Works, vol. 13, Moscow: DSCH, 2011 | Primary source: score | ||
| 66 | The author’s arrangement for voice and piano four hands | Dmitri Shostakovich | New Collected Works, vol. 28, Moscow: DSCH, 2012 | Primary source: score | ||
| 67 | The Soviet collected-works edition · the 1970 Western score | Dmitri Shostakovich | Moscow: Muzyka, 1984 (vol. 7) · 1970 | Primary source: scores | ||
| 67a1 | “The Rhetoric of Reference; or, Shostakovich’s Ghost Quartet” | Peter J. Rabinowitz | Narrative 15/2 (2007): 239–256 | Article | ||
| 67a2 | Dimensions of Energy in Shostakovich’s Symphonies | Michael Rofe | Ashgate, 2012 | Book | ||
| 67a3 | «Генезис комического в творчестве Д. Д. Шостаковича» (The genesis of the comic in Shostakovich) | B. B. Borodin | Candidate dissertation, Moscow, 1988 | Dissertation | ||
| 67a4 | «„Поэтическое” и „прозаическое” в камерно-вокальном творчестве Д. Шостаковича» (The “poetic” and the “prosaic” in the chamber-vocal works) | N. B. Matveeva | Актуальные проблемы высшего музыкального образования 2014, no. 3: 15–18 | Article | ||
| 68 | Recordings: Kondrashin, Moscow Philharmonic, Gromadsky, live 20 Dec 1962 (original text) · Kondrashin, Moscow Philharmonic, Eizen, 1967 (revised text) · Ormandy, Philadelphia, 1970 · Haitink, Concertgebouw, 1984 · Nelsons, Boston Symphony, 2023 | — | Praga Digitals · Melodiya · RCA · Decca · DG | Primary source: recordings |