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Vysotsky's Soul Packaged in Tapes ABSTRACT Title of Dissertation: “Vysotsky’s Soul Packaged in Tapes": Identity and Russianness in the Music of Vladimir Vysotsky Heather Lynn Miller, Doctor of Philosophy, 2006. Dissertation directed by: Professor Robert C. Provine Division of Musicology and Ethnomusicology School of Music, University of Maryland This study examines the relationship between music, identity, and Russianness as demonstrated by the songs of the bard Vladimir Vysotsky. The career of Vysotsky occurred within the context of Soviet Russia, but more broadly, his songs embody characteristics specific to Russian culture. For this study, I draw on the fields of ethnomusicology, history, and cultural studies to assist in the interpretation of music and identity in a cultural context. By investigating the life and career of this individual, this study serves as a method in which to interpret the identity of a musical performer on multiple levels. I gathered fieldwork data in Moscow, Russia in the summers of 2003 and 2004. Information was gathered from various sites connected to Vysotsky, and from conversations with devotees of his music. The role of identity in musical performance is complex, and to analyze Vysotsky’s Russianness, I trace his artistic work as both ‘official’ actor and ‘unofficial’ musician. Additionally, I examine the lyrics of Vysotsky’s songs for the purposes of relating his identity to Russian culture. In order to define ‘Russianness,’ I survey theoretical perspectives of ethnicity and nationalism, as well as musical and non-musical symbols, such as the Russian soul (dusha), all of which are part of the framework that creates Russian identity. In addition to Russian identity, I also address a performer’s musical identity which focuses mainly on musical composition and performance. In determining Vysotsky’s unique musical identity, I compare the compositions of his avtorskaya pesnya (‘author song’) to two other bards who were his contemporaries. This comparative analysis demonstrates that even within the same musical genre, performers employ distinctive compositional and performance practices particularly identified with that individual. I conclude that identity is a multi-layered framework, and that this framework is, in actuality, comprised of different identities. In the case of Vysotsky, some songs display a national identity, whereas in others examples, he displays an identity based on social status or ethnicity. The arrangement of these identities can change, and interpretation of the identity framework is dependent on specific music examples and performance contexts. “VYSOTSKY’S SOUL PACKAGED IN TAPES”: IDENTITY AND RUSSIANNESS IN THE MUSIC OF VLADIMIR VYSOTSKY by Heather Lynn Miller Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Robert Provine, Chair Professor Michael David-Fox Professor Jonathan Dueck Professor Marie McCarthy Professor Emeritus Józef Pacholczyk © Copyright by Heather Lynn Miller 2006 DEDICATION To My parents, for love and support, My Friends in Moscow, for memories and In memory of Dorothy Miller (1920-2006), Your love and support lasted just long enough to see this work complete ii ACKNOWLEDGEMENTS I would first and foremost like to express my gratitude to my dissertation advisor Dr. Robert Provine for his continuous patience and support during the time it took to write this dissertation. I am indebted to him for his guidance and attention to detail that has helped this work reach its completion. I am also grateful to Dr. Józef Pacholczyk whose insight and wisdom guided the early stages of my research at Maryland. Additionally, I would like to thank the other members of my committee, Dr. Michael David-Fox, Dr. Jonathan Dueck, and Dr. Marie McCarthy, for agreeing to be a part of my committee and for their support and guidance. This dissertation is a result of many years of studying music and Russian culture. I would like to acknowledge the continued support and friendship of previous professors who have shaped my focus and perspectives, especially Dr. Charles McKnight for introducing me to studies of Russian music, and Dr. Leslie Gay for introducing me to the field of ethnomusicology. I would also like to acknowledge my friends and colleagues at the University Maryland for their unwavering support and encouragement. I would particularly like to thank Mary Scott for her heartfelt friendship and to Victor Vicente for his encouragement and helpful advice through the years. iii I am deeply indebted to my friends in Moscow for their help, and for sharing their love and knowledge of Vysotsky. I would particularly like to thank Lydia Dvoretskaya for opening her door and providing me with a wealth of wonderful memories. A special thank you is extended to Petia Alexieva for her assistance in translating and for her friendship during our spent time in Moscow and gracious hospitality in Bulgaria. I would also like to acknowledge Dr. Artur Baishev and everyone at the Center for Russian Language and Culture for helping me navigate my travels to Russia and for making my experiences in Moscow truly enriching. I would like to offer a heartfelt thank you to Greg and Jennifer Snodgrass for their unwavering support during the writing of this dissertation. I also have to acknowledge the love and support of my friends, Jack Newton and Michael Kay, Wendy Rash, Stephanie Wilson, Chuck Litchenberger, Gwendolyn Farmer, and Kristi Owens. They all have greatly supported me over many years during a seemingly never-ending educational pursuit that I feel this dissertation belongs to us all. My final and deepest thanks are extended to my family, especially my parents, Peyton and Lynn. Without their love and support, and a great deal of financial assistance, this dissertation would never have come to fruition. An additional thank you has to be extended to Savannah and Duncan, for their faithful companionship during late nights of writing and revising. iv TABLE OF CONTENTS LIST OF FIGURES viii NOTE ON SPELLING AND TRANSLITERATION x CHAPTER ONE Introduction 1 Avtorskaya Pesnya 4 Vladimir Vysotsky – Biographical Sketch 9 Cultural Policy on Soviet Art 12 Cultural Policy in the Soviet Union 16 Theoretical Perspectives 19 Music and Identity 22 Purpose of Study and Research Method 25 Contexts of Field Site 28 Defining Terminology for Study 29 Organizational Outline for Dissertation 33 CHAPTER TWO: SURVEY OF SCHOLARLY LITERATURE 36 Sources from Ethnomusicology 36 Music and Identity 39 Russian and Soviet Histories 44 Popular Music and the Soviet Union 49 Current Literature on Avtorskaya Pesnya and Vladimir Vysotsky 53 Conclusion 57 CHAPTER THREE: RUSSIAN IDENTITY AND SYMBOLISM 59 Ethnicity, Nationality and Its Role in Russia 60 a. Ethnicity 60 b. Nationality/Nationalism 64 National Identity in Russia and the Soviet Union 71 a. Russian Nationalism 71 b. Soviet Nationalism 74 Music and Nationalism 77 v Cultural Identity in Russia 86 a. Contrasting Views 87 b. Cultural Identity in Soviet Russia 91 c. Musical Identity in Russia and the Soviet Union 94 Concepts of the Russian ‘Soul’ 99 Conclusion 101 CHAPTER FOUR: SOCIALIST REALISM AS CULTURAL POLICY AND AESTHETIC SYSTEM 103 Socialist Realism as Cultural Policy 104 Socialist Realism in Implementation 107 Socialist Realism and Music 111 Socialist Realism as a Musical Method or Aesthetic? 115 The Obscurity of Socialist Realism 121 Vysotsky as a Socialist Realist Artist 127 a. Alternative Realism 131 Conclusion 132 CHAPTER FIVE: SANCTIONED PERFORMANCES – VYSOTSKY ON STAGE AND IN FILM 134 Vysotsky’s Work at the Taganka Theater 135 Vysotsky’s Work in Film 146 Conclusion 152 CHAPTER SIX: UNSANCTIONED PERFORMANCES – VYSOTSKY AS MUSICIAN 155 Era of Stagnation and the Dissident Movement 156 Avtorskaya Pesnya as Musical Genre 161 Magnitizdat Culture 169 Vysotsky as ‘Un-Soviet’ Musician 176 Conclusion 193 CHAPTER SEVEN: PERFORMANCE STYLES AND MUSICAL IDENTITIES 196 Biographical Sketch of Bulat Okudzhava 198 Biographical Sketch of Alexandr Galich 203 A Comparison of Musical Style in Avtorskaya Pesnya 208 a. Comparing Musical Styles – Okudzhava, Vysotsky, and Galich 208 b. Improvisational elements in Vysotsky’s performances 215 Musical Identity in Avtorskaya Pesnya 220 Conclusion 224 CHAPTER EIGHT: DEATH AND REMEMBRANCE – VYSOTSKY AND RUSSIAN CULTURAL IDENTITY 227 A Glimpse of Post-Soviet Moscow 229 vi Vysotsky in Moscow 236 Vysotsky in Remembrance 240 a. Vysotsky’s Death 240 b. Vysotsky in Remembrance – Vagan’kovskoye Cemetery 242 July 25, 2003 245 July 25, 2004 247 Analysis of Vysotsky Commemorations – the Sacred and the Secular 252 Conclusion 258 CHAPTER NINE: CONCLUSION 260 Defining Music and Identity 260 Identity in Russian Culture 263 The Nesting Principle 265 Identities in Vysotsky’s Songs 267 In Closing 273 APPENDIX: Transcriptions of Avtorskaya Pesnya, Examples by Vladimir Vysotsky, Bulat Okudzhava, Alexander Galich 275 INTERVIEWS CITED 285 AUDIO AND VIDEO RECORDINGS 286 BIBILIOGRAPHY 288 vii LIST OF FIGURES Figure 4-1 Main Building at Moscow State University Figure 4-2 Friendship of Nations Fountain at VDNKh, Moscow Figure 4-3 Relief wall from cosmonaut memorial, Moscow Figure 5-1 Taganka Theater, Moscow Figure 7-1 Monument to Bulat Okdudazhava, Old Arbat Street, Moscow Figure 7-2 First three measures of “The Last Trolley,” by Okudzhava Figure 7-3 First four measures of “Na Bolshoi Karetnom,” by Vysotsky Figure 7-4 First four measures of “When I Return,” by Galich Figure 7-5 “Na Bolshoi Karetnom,” first refrain, version 1 Figure 7-6 “Na Bolshoi Karetnom,” first refrain, version 2 Figure 7-7 “Song about a Friend,” first refrain, version 1 Figure 7-8 “Song about a Friend,” first refrain, version 2 viii Figure 8-1 Lenin statue, October Square Figure 8-2 Communist Protesters in Revolutionary Square Figure 8-3 Pushkin Monument, Pushkin Square Figure 8-4 Reconstructed Cathedral of Christ the Savior, Moscow Figure 8-5 Sign at State Cultural Center and Museum of Vladimir Vysotsky, Moscow Figure 8-6 Sign at No.
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