SEX à LA RUSSE
This process can be traced very vividly in the music of Russian composers, who were if anything even more obsessed with the development of orientalist tropes than were the French. The reason for their obsession was twofold. In the first place, Russia was engaged throughout the nineteenth century in imperialistic expansion into Islamic territories, first in the Caucasus (where the indigenous populations were in fact Christian as well as Muslim), later in what the Russians called “Central Asia,” the vast plain or steppe south of Siberia and north of Iran, Afghanistan, and China.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Self and Other." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Jul. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007015.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Self and Other. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 1 Jul. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007015.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Self and Other." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Jul. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007015.xml