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SOCIALIST REALISM IN SLOVAK MUSIC - WHY DID TOTALITARIAN REGIMES NEED MUSIC AESTHETICS?
Abstract
The paper discusses one of the most interesting historical landmarks in the development of Slovak Music Aesthetics that of Socialist Realism. The period of constructive effort (normative aesthetics) followed by the normalization period, paradoxically quite indifferent in the attitude to the scientific exploring of aesthetics through the application of Marxist philosophy, make the focus of the study. The aesthetics of Socialist Realism (normative aesthetics) and movements in music culture in the second half of the 20th century make the core of the paper that aims to bring insight into the relationships between the scientific nature of music aesthetics and the issues of music poetics at the beginning of the totalitarian regime. The objective is to discuss music aesthetics of the socialist regime (so-called dogmatic aesthetics), its theoretical primers and the outcomes. The present study is an initial attempt in the mapping and axiological interpreting of the outcomes of 20th-century Slovak music culture and science as an internally differentiated complex; it brings to attention principal issues and synthetizes the source material.
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