Nostalgia of Sound: The Social and Cultural Phenomenon of the “Soviet Wave” Music Community

封面

全文:

开放存取 开放存取
受限制的访问 ##reader.subscriptionAccessGranted##
受限制的访问 订阅存取

详细

Nostalgia for the late Soviet past takes various forms and is intertwined in complex ways with global trends to look to the past for inspiration in creating new examples of mass culture. New generations of those who were born and raised after the collapse of the Soviet system are being introduced to nostalgic reminiscences. The article analyzes the socio-cultural phenomenon of electronic music Soviet Wave, which combines the stylistics of the late Soviet popular culture and contemporary electronic music. This phenomenon can be understood as post-nostalgia for the late Soviet, since it involves members of the younger generation who know about the Soviet from the stories of their parents and the media. In addition, the “Soviet Wave” is also analyzed as part of the general trend of retromania described by S. Reynolds. Reynolds, where there is an endless reference to the musical styles of the past in the creation of new works. The main concept of the phenomenon of the Soviet Wave is the idea of “ersatz-nostalgia” by A. Appadurai, which suggests the contemporary experience of the past without a corresponding life experience and collective historical memory, but based on the popular patterns of mass culture, in the representations of which the past has already undergone profound transformation. Nostalgia for the late Soviet past takes various forms and is intertwined in complex ways with global trends to look to the past for inspiration in creating new examples of mass culture. The article presents a brief history of the formation and evolution of the musical culture of “Soviet Wave” in the Russian subcultural scene, shows the connection of the aesthetics of this trend with the nostalgic mood of the late Soviet period, reveals the elements of ersatz and techno nostalgia (T. Pinch, D. Reyneke), examines the relationship of this phenomenon with the broader trends in contemporary mass culture in the international context. “The Soviet Wave” is also considered as an element of cultural citizenship formation and transformational museumfication of the Soviet. The article is based on the results of the author’s empirical research, which included interviews with musicians working in the “Soviet Wave” genre.

全文:

受限制的访问

作者简介

Roman Abramov

HSE University; Institute of Sociology of the Federal Center of Theoretical and Applied Sociology of the Russian Academy of Sciences

编辑信件的主要联系方式.
Email: rabramov@hse.ru
ORCID iD: 0000-0002-4967-1169

DSc in Sociology, Professor at the School of Sociology of the Faculty of Social Sciences, Leading Research Fellow at the International Laboratory for Social Integration Research; Leading Research Fellow at the Department of Theory and History of Sociology

俄罗斯联邦, 20, Myasnitskaya Str., Moscow 101000; 5/1, Bolshaya Andronevskaya Str., Moscow 109544

Alexander Voinkov

Email: voinkovsasha@gmail.com

Master of Sociology, independent researcher

俄罗斯联邦

参考

  1. Абрамов Р.Н. Музеефикация советского. Историческая травма или ностальгия? // Человек. 2013. № 5. С. 99–111.
  2. Abramov R.N. Muzeefikaciya sovetskogo. Istoricheskaya travma ili nostal’giya? [Museumification of the Soviet. Historical Trauma or Nostalgia]. Chelovek. 2013. N 5. P. 99–111.
  3. Джеймисон Ф. Постмодернизм или Культурная логика позднего капитализма. М.: Издательство Института Гайдара, 2019.
  4. Dzheymison F. Postmodernizm ili Kul’turnaya logika pozdnego kapitalizma. [Postmodernism or the Cultural Logic of Late Capitalism] Moscow: Izdatel’stvo Instituta Gaydara Publ., 2019.
  5. Рейнольдс С. Ретромания. Поп-культура в плену собственного прошлого. М.: Белое Яблоко, 2015.
  6. Reynol'ds S. Retromaniya. Pop-kul'tura v plenu sobstvennogo proshlogo. [Retromania. Pop Culture is Trapped in its Own Past]. Moscow: Beloye Yabloko Publ., 2015.
  7. Самутина Н. Пластиковый остров Утопия: Мультимедийный проект Gorillaz и современная музыкальная культура // Неприкосновенный запас. 2012. № 81(1). С. 171–191.
  8. Samutina N. Plastikovyy ostrov Utopiya: Mul’timediynyy proyekt Gorillaz i sovremennaya muzykal’naya kul’tura [Plastic Island Utopia: Gorillaz Multimedia Project and Contemporary Musical Culture]. Neprikosnovennyy zapas. 2012. N 81(1). P. 171–191.
  9. Хохлова Д., Хохлов Н. «Советский Союз не развалился»: ретромания, постирония и ностальгия в российской популярной музыке // Новая критика. Контексты и смыслы российской поп-музыки: сборник статей. М.: ИМИ, 2020. C. 15–25.
  10. Khokhlova D., Khokhlov N. “Sovetskiy Soyuz ne razvalilsya”: retromaniya, postironiya i nostal’giya v rossiyskoy populyarnoy muzyke [“The Soviet Union Did Not Fall Apart”: Retromania, Postirony and Nostalgia in Russian Popular Music]. Novaya kritika. Konteksty i smysly rossiyskoy pop-muzyki: sbornik statey [Contexts and Meanings of Russian Pop Music: a Collection of Articles]. Moscow: IMI Publ., 2020. P. 26–45.
  11. Чернова К. Советская волна: ностальгия и практики конструирования утопии // Новая критика. Контексты и смыслы российской поп-музыки: сборник статей. М.: ИМИ, 2020. С. 15–25.
  12. Chernova K. Sovetskaya volna: nostal’giya i praktiki konstruirovaniya utopii [Soviet Wave: Nostalgia and Practices of Constructing Utopia]. Novaya kritika. Konteksty i smysly rossiyskoy pop-muzyki: sbornik statey. [Contexts and Meanings of Russian Pop Music: Digest of Articles]. Moscow: IMI Publ., 2020. P. 15–25.
  13. Шевченко Л. Ностальгия в системе базовых оппозиций «добро» и «зло» в автодокументальных произведениях Людмилы Улицкой «Детство 45–53: а завтра будет счастье» и Светланы Алексиевич «Время секонд хэнд» // Studia Rossica Posnaniensia. 2019. № 1(44). С. 53–62.
  14. Shevchenko L. Nostal’giya v sisteme bazovykh oppozitsiy “dobro” i “zlo” v avtodokumental’nykh proizvedeniyakh Lyudmily Ulitskoy “Detstvo 45–53: a zavtra budet schast’ye” i Svetlany Aleksiyevich “Vremya sekond khend” [Nostalgia in the System of Basic Oppositions “Good” and “Evil” in the Self-Documentary Works of Lyudmila Ulitskaya “Childhood 45–53: and Tomorrow there Will be Happiness” and Svetlana Aleksievich “Second Hand Time”]. Studia Rossica Posnaniensia. 2019. N 1(44). P. 53–62.
  15. Appadurai A. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota, 1996.
  16. Bennett A., Peterson R. Introducing Music Scenes. Music Scenes: Local, Translocal and Virtual. A. Bennett, R.A. Peterson (eds.). Nashville: Vanderbilt University Press, 2004. P. 1–16.
  17. Delanty G. Two Conceptions of Cultural Citizenship: A Review of Recent Literature on Culture and Citizenship. The Global Review of Ethnopolitics. 2002. N 1. P. 60–66.
  18. Hennion A. Baroque and rock: Music, mediators and musical taste. Poetics. 1997. Vol. 24, N 6. P. 415–435.
  19. Higson A. Nostalgia is Not What It Used to Be: Heritage Films, Nostalgia Websites and Contemporary Consumers. Consumption Market and Culture. 2014. Vol. 17, N 2. P. 120–142.
  20. Misztal B.A. Theories of Social Remembering. Maidenhead, Philadelphia: Open University Press, 2003.
  21. Pinch T., Reinecke D. Technostalgia: How Old Gear Lives on in New Music. Sound Souvenirs. Audio Technologies, Memory and Cultural Practices. K. Bijsterveld, J. van Dijck (eds.). Amsterdam: Amsterdam University Press, 2007. P. 152–169.
  22. Russo N. Psycherelic Rock. Ersatz Nostalgia for the Sixties and the Evocative Power of Sound in the Retro Rock Music of Tame Impala. Volume! 2014. Vol. 11. P. 162–173.
  23. van Dijck J. Mediated Memories in the Digital Age. Stanford, Calif.: Stanford University Press, 2007.
  24. Wolfe A.S., Miller C., O’Donnell H. On the Enduring Popularity of Cream’s “Sunshine of Your Love”: Sonic Synecdoche of the “Psychedelic 60s”. Popular Music. 1999. Vol. 18, N 2. P. 259–276.

版权所有 © Russian Academy of Sciences, 2024

##common.cookie##