Author:
Richard Taruskin University of California, Berkeley Department of Music 216 Morrison Hall CA 94720-1200 Berkeley USA

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When Musorgsky revised his opera Boris Godunov in 1871–1872 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd beg Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin’s eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote his own text for it. The two scenes are ideologically at odds, particularly as regards their view of the Russian nation in relation to the Russian people. Moreover, the two scenes share the episode of the Holy Fool and the thieving boys, which Musorgsky transferred from the one score to the other. Obviously, Musorgsky regarded them as incompatible within a single production and thought he had made conflating them impossible. And yet, at the Bolshoy Theater in 1939, the two scenes were indeed played that way, inconsistencies and redundancies be damned. The Bolshoy production (which became widely known through recordings and film) might be written off, the way we tend to write off the art of the Stalinist era, as a politically motivated anomaly. But other productions, including one in San Francisco in 1992, and one that was mounted in 2010 at the Teatro Regio in Torino, have included both scenes without any such evident motivation, possibly because the Bolshoy production is now regarded by some as canonical. Is the historiographical contradiction involving our theme of Opera and Nation to be regarded as a blemish? If not, what considerations can be seen to outweigh it? Can Musorgsky’s political ideas be deduced from the work in which we assume they are embodied? And if they can be, should they be regarded as an aspect of the work that performers need respect?

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Senior editors

Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

Assistant Editor(s):
Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anna LASKAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • Vjera KATALINIĆ (HR)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

STUDIA MUSICOLOGICA
Address: H–1250 Budapest, PO Box 9, Hungary
Fax: +36 1 375 9282
E-mail: studia@btk.mta.hu

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2022  
Web of Science  
Total Cites
WoS
56
Journal Impact Factor 0.1
Rank by Impact Factor

n/a

Impact Factor
without
Journal Self Cites
0.1
5 Year
Impact Factor
0.1
Journal Citation Indicator 0.08
Rank by Journal Citation Indicator

Music (Q4)

Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0.1
Scimago Quartile Score

Music (Q4)

Scopus  
Scopus
Cite Score
0.1
Scopus
CIte Score Rank
Music 154/167 (8th PCTL)
Scopus
SNIP
0.240

2021  
Web of Science  
Total Cites
WoS
67
Journal Impact Factor not applicable
Rank by Impact Factor not applicable
Impact Factor
without
Journal Self Cites
not applicable
5 Year
Impact Factor
not applicable
Journal Citation Indicator 0,04
Rank by Journal Citation Indicator Music 100/112
Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0,101
Scimago Quartile Score Music (Q4)
Scopus  
Scopus
Cite Score
0,1
Scopus
CIte Score Rank
Music 130/153 (Q4)
Scopus
SNIP
0,000

2020  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
5/56=0,1
Scopus
Cite Score Rank
Music 118/147 (Q4)
Scopus
SNIP
0
Scopus
Cites
11
Scopus
Documents
0
Days from submission to acceptance 112
Days from acceptance to publication 413

 

2019  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
1/66=0
Scopus
Cite Score Rank
Music 122/142 (Q4)
Scopus
SNIP
0,000
Scopus
Cites
4
Scopus
Documents
0

 

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Studia Musicologica
Language English
French
German
Size B5
Year of
Foundation
2007 (1961)
Volumes
per Year
1
Issues
per Year
4
Founder Magyar Tudományos Akadémia
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Address
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ISSN 1788-6244 (Print)
ISSN 1789-2422 (Online)