Marina Frolova-Walker

Marina Frolova-Walker (Russian: Марина Фролова-Уокер;[1] born 1966)[2] is a Russian-born British musicologist and music historian, who specialises in German Romanticism, Russian and Soviet music, and nationalism in music.[3] She is Professor of Music History and Director of Studies in Music at Clare College, Cambridge.[4] She has authored several books and a number of academic articles.[5]

Biography

Born in Moscow, she first attended the college (ru) of the Moscow Conservatory and then subsequently completed her graduate studies at the conservatory proper. In 1994 she defended her doctorate on the symphonies of the 19th century German composer Robert Schumann and their influence on Russian music. She moved to the United Kingdom in the same year "for personal, rather than political reasons." Between 1994 and 2000 she taught at various schools in the UK, namely at the University of Ulster, Goldsmiths, University of London, and University of Southampton. In 2000 she started teaching at Cambridge.[6]

In her biography, Frolova-Walker writes that she began teaching at 19, and adds that she has given more than 100 lectures before concerts in locations ranging from Carnegie Hall to factories in Kazakhstan.[6]

In 2015, Frolova-Walker was elected to professorship at the University of Cambridge [6] and to the fellowship of the British Academy.[7] She delivered her inaugural professorial lecture at the University of Cambridge in October 2015.[8] Also in 2015 Frolova-Walker was awarded the Dent Medal for outstanding contribution to musicology.[9]

Frolova-Walker has appeared regularly on TV and Radio including the BBC Proms . In 2015 she appeared on BBC Radio 3 Proms Extra speaking on Shostakovich's Leningrad Symphony. She has also contributed to the BBC Radio 3 Stravinsky 'A to Z'[10]

Works

Frolova-Walker's interest in historiography of Russian music and the nationalist/exoticist myths resulted in the book titled Russian Music and Nationalism: from Glinka to Stalin (2008),[6] which is considered her magnum opus.[11] It has received generally favourable reviews from critics.[11][12] Andrew Wachtel, although pointing out several errors and shortcomings, wrote that it "will be important for all scholars interested in manifestations of Russian nationalist thinking and/or in the process of cultural nation-building."[13]

In 2011-13 she held a Major Research Fellowship from the [Leverhulme Trust], which allowed her to pursue extensive archival research in [Russia], leading to the publication of "Stalin's Music Prize: Soviet Culture and Politics" (forthcoming from Yale University Press in 2016). This will be published in Feb 2016 as 'Stalins Music Prize: Soviet Culture and Politics.'[14]

Books[5][15]
Selected articles[5][15]

References

  1. ↑ ""Opera Musicologica" Консультативный совет ["Opera Musicologica" Journal Advisory Board]" (in Russian). Saint Petersburg Conservatory. Retrieved 15 August 2014. Марина Фролова-Уокер
  2. ↑ "Выдающиеся музыканты – выпускники теоретического отделения [Outstanding musicians – graduates of the theoretical department]" (in Russian). Academic Musical College of the Moscow State Conservatory. Retrieved 15 August 2014. ФРОЛОВА-УОЛКЕР Марина Вадимовна (р.1966)
  3. ↑ "Music". Clare College, Cambridge. Retrieved 15 August 2014.
  4. ↑ "Dr Marina Frolova-Walker". Faculty of Music, University of Cambridge. Retrieved 15 August 2014.
  5. 1 2 3 "Publications by Marina Frolova-Walker". Academia.edu. Retrieved 15 August 2014.
  6. 1 2 3 4 "Dr Marina Frolova-Walker". Faculty of Music, University of Cambridge. Retrieved 25 November 2015.
  7. ↑ "Dr Marina Frolova-Walker". British Academyaccessdate= 25 November 2015.
  8. ↑ "Marina Frolova Walker". Faculty of Music, University of Cambridge. Retrieved 25 November 2015.
  9. ↑ ref name= "Dent Medal Winners">"Dr Marina Frolova-Walker". Dent Medalaccessdate=25 November 2015.
  10. ↑ "D for Diaghliev". BBC Radio 3. Retrieved 25 November 2015.
  11. 1 2 "Russian Music and Nationalism: From Glinka to Stalin by Marina Frolova-Walker Review by: Mark Carroll". Slavic Review (Association for Slavic, East European, and Eurasian Studies) 68 (2): 449–451. Summer 2009. doi:10.2307/27698006. Frolova-Walker's magnum opus is rounded out with a glossary of terms, which is an impressive piece of scholarship in itself. While the extensive use of music examples assumes a fair degree of musical literacy on the part of the reader, the author's easy traverse of a range of sociocultural disciplines ensures that there is, as they say, something in this book for everyone.
  12. ↑ Gudesblatt, Melanie (2009). "Review: Russian Music and Nationalism from Glinka to Stalin". Nota Bene: Canadian Undergraduate Journal of Musicology 2 (1).
  13. ↑ "Russian Music and Nationalism: From Glinka to Stalin by Marina Frolova-Walker Review by: Andrew Wachtel". Slavic and East European Journal (American Association of Teachers of Slavic and East European Languages) 53 (1): 136–137. Spring 2009. This book is not without faults; at times it is overly polemical and reads like a dissertation (and the Yale UP copy-editor should have corrected a number of instances of Russian-inflected English); it also inexplicably fails to address and acknowledge a number of important works of relevant Western scholarship (Boris Gasparov, Caryl Emerson). Nevertheless, Frolova- Walker has assimilated an enormous amount of material and has presented it compellingly and in ways that can be appreciated by and will be important for all scholars interested in manifestations of Russian nationalist thinking and/or in the process of cultural nation-building.
  14. ↑ "Stalins Music Prize Announcement". Yale University Pressaccesdate= 25 November 2015.
  15. 1 2 "Marina Frolova-Walker". Google Scholar. Retrieved 15 August 2014.
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