Советская музыка как объект сталинской культурной политики
The article analyzes the formation of the language of the Stalinist cultural policy on the material of musical-ideological discourse of the 1920s — 1950s. The author attempts to disassociate herself from the Zhdanov’s narrative about the struggle of two schools in the Soviet music. This narrative is still dominates the historical-musicological research. The author interprets ideological definitions used to characterize the composer's work, — such as «formalism», «naturalism», «reactionary character», «cosmopolitism», «truthfulness», «sincerity», «simplicity», «nationality», «partisanship», — in a new, ethical perspective. The author demonstrates that the accusations of formalism, put forward by some musical ideologists from RAPM to Zhdanov and his followers, were in fact an appeal to a paradoxical ethical norm.