| Description |
1 online resource (247 pages) |
| Series |
Soviet and post-Soviet politics and society ; vol. 203 |
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Soviet and post-Soviet politics and society ; 203.
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| 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) |
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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 |
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3.1 A brief history of the Russian national anthem3.1.1 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 |
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3.2.7 Bonus Track: A Grain of Truth and the Ideology of Masturbation3.3 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 |
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4.8 ConclusionConcluding Remarks and Possible Future Prospects; References; Bibliography; Filmography and music videos; Personal communication; Index |
| 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, ' and ''Lasha Tumbai', or 'Russia, Goodbye'' The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground.' |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record |
| Subject |
Popular music -- Political aspects -- Ukraine
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Popular music -- Political aspects -- Russia (Federation)
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MUSIC -- Instruction & Study -- Theory.
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International relations
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Popular music -- Political aspects
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| SUBJECT |
Ukraine -- Relations -- Russia (Federation)
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Russia (Federation) -- Relations -- Ukraine
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| Subject |
Russia (Federation)
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Ukraine
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| Form |
Electronic book
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| Author |
Rogatchevski, Andrei, author
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Steinholt, Yngvar Bordewich, author
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Wickström, David-Emil, author
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| ISBN |
9783838271736 |
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3838271734 |
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