2026-09-23T03:30:19Z https://www.ideals.illinois.edu/oai-pmh

oai:www.ideals.illinois.edu:2142/124700 2026-01-14 col_2142_5131 col_2142_14792 com_2142_5130 com_2142_814 com_2142_8903

Steinberg, Mark Steinberg, Mark Randolph, John Buchanan, Donna Chaplin, Tamara 2024-05 application/pdf en text Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2026-05-01 The student, Elizabeth Abosch, accepted the attached license on 2024-04-24 at 13:56. The student, Elizabeth Abosch, submitted this Dissertation for approval on 2024-04-24 at 13:59. This Dissertation was approved for publication on 2024-04-25 at 15:10. DSpace SAF Submission Ingestion Package generated from Vireo submission #20613 on 2024-09-16 at 00:50:26 Soundtracking Sovietness: Daily life, labor, and the power of song in Russia, 1920-1980 Abosch, Elizabeth 2024-04-25 Soviet Russia History Song Songs Popular Music Leonid Utesov Rapm Arkadii Severnyi Folksong Folklore State Power Soviet Culture Popular Culture This dissertation examines the creation of the sound of “Sovietness” through the development of mass song and ideological campaigns against unsanctioned popular music in the Soviet Union from 1920-1980, focusing primarily on Russia. It analyzes narratives in public discourse about the effects and experience of singing and listening in newspapers and journals, film, music, literature, song collections, and the personal archives of artists and arts organizations in Moscow. In publicizing this experience and discourse, I argue that Soviet people engaged with, negotiated, and rejected the Soviet identity with words and their own listening habits. Histories of Soviet music have previously concerned the struggles and bonds between composers, bureaucrats, and state power. A focus on the concept of song reveals how ideologues, officials, and the public understood music to influence emotion and behavior. Through filling and saturating Soviet spaces, song was able to manifest an ideal atmosphere of socialist construction or, alternatively, drag listeners and singers to the backwardness of the past. The USSR emerged alongside the radio and gramophone and collapsed parallel to the birth of tape recorders and other technologies of individualized listening; technologies of recorded and broadcast sound had a significant role in the promotion and fragmentation of collective culture. This study of the discourse about the life of songs in Soviet society was more than a matter of public taste. It was about how individuals, groups, peoples, and spaces should sound Soviet, and the risk to the socialist project in sounding otherwise. Text eng https://hdl.handle.net/2142/124700 Copyright 2024 Elizabeth Abosch Ph.D. Dissertation History University of Illinois at Urbana-Champaign History