...This chapter focuses on Dmitry Shostakovich's behaviour as a member of the Stalin Prize Committee (KSP). Shostakovich started attending meetings of the Music Section in March 1947. When the plenary sessions of the KSP began in April, Shostakovich and Nikolai Myaskovsky clashed over the latter's...

... the return of satire and psychology in the KSP nominations and how the disruption of the Stalin Prize cycle affected the opera. Finally, it looks at Dmitry Shostakovich's reemergence in the limelight, with particular emphasis on how his music sparked a KSP debate over the issue of Socialist Realism...

... the published lists of prize-winning composers such as Dmitry Shostakovich, Sergei Prokofiev and Nikolai Myaskovsky. It argues that, as the case of visual arts implies, it is possible to viably speak of a Socialist Realist core of works that elicited the fullest consensus as canonical examples of Socialist...

...This chapter focuses on the first year of the Stalin Prize, using Dmitry Shostakovich's Piano Quintet to acquaint readers with some of the twists and turns of the process. One of the first to take an interest in the vagaries of the Stalin Prize for music was Solomon Volkov, who was particularly...

...This chapter discusses the Stalin Prize history of Dmitry Shostakovich, who won in 1950 and 1952. It begins with an analysis of the debate in the Stalin Prize Committee over Shostakovich's Eighth Symphony, first in 1944 and again in 1945, and how the work tested the boundaries of musical Socialist...

... tastes, the lives and careers of those honored, including multiple-recipients Sergei Prokofiev and Dmitry Shostakovich, and the elusive artistic concept of ‘Socialist Realism’, offering the most comprehensive examination to date of the relationship between music and the Soviet state from 1940 through...