The Chanting Flute: Uncovering Russian Orthodox and Shamanic Sounds in Sofia Gubaidulina's ...The Deceitful Face of Hope and of Despair (2005)
Journal of Sonic Studies April 3, 2025 DOI: 10.22501/jss.1680815 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Topics | Shamanism |
| Key points | Argues that in Gubaidulina's 2005 flute concerto ...The Deceitful Face of Hope and of Despair, the solo flutist is framed as both a Siberian shaman and a Russian Orthodox cantor, drawing on musical traditions suppressed during the Soviet era. The author contends the work demonstrates how post-Soviet composers can engage sociological tensions around cultural, ethnic, and spiritual discrimination. |
Abstract
In the early years of the Soviet era, the music of two Russian faith traditions was forced into the shadows. Siberian shamans preserved chants and folk knowledge despite intense persecution, and Russian Orthodox monks preserved early forms of plainchant in remote monasteries away from the watchful eye of the government. Sofia Gubaidulina (b. 1931), herself a member of the richly-historied and often-marginalized Tatar people, became a practicing Russian Orthodox Christian in the 1960s. During the 1970s, she began performing improvisations with her ensemble Astraea, familiarizing herself with many instruments used by Siberian shamans. Her references to shamanism continued to increase among her concert-hall compositions over the following decades.As a new generation began to embrace the freedom to part from state-sponsored atheism during the 1990s and 2000s, shamanic chanting and Russian Orthodox Znamenny chant experienced a renaissance of practice and scholarly interest. Gubaidulina responded with her music: in her 2005 flute concerto …The Deceitful Face of Hope and of Despair, Gubaidulina’s flute soloist takes on the role of chanter. Drawing on Tia DeNora’s research in the sociology of concerto forms, Kofi Agawu’s framework of musical “topics,” and the composer’s own reflections on the concerto metaphor, this article analyzes how Gubaidulina frames the solo flutist as Siberian shaman and Russian Orthodox cantor within subsequent episodes of this concerto. In this way, the soloist “speaks” through the music of these faith traditions that remained underground for much of Gubaidulina’s adult life.…The Deceitful Face of Hope and of Despair is a flute concerto deserving of its title, demonstrating the dynamic potential of works by post-Soviet composers to contend with the sociological tensions that affect any individual whose cultural, ethnic, or spiritual identity has been the target of discriminatory policies. keywords: music, soviet studies, russian music, gubaidulina, Shamanism
Comparable studies
Other theoretical and historical papers on shamanism, most cited first.
| Study | Year | Design | Participants |
|---|---|---|---|
| Ayahuasca Shamanism in the Amazon and Beyond | 2014 | Theoretical or philosophical paper | |
| Shamanism as the Original Neurotheology | 2004 | Theoretical or philosophical paper | |
| Cognitive Neuroscience, Shamanism and the Rock Art of Native California | 1998 | Theoretical or philosophical paper | |
| From Culture to Experience: Shamanism in the Pages of the Soviet Anti-Religious Press | 2020 | Historical analysis | |
| Anthropology, Shamanism, and Alternate Ways of Knowing–Being in the World: One Anthropologist's Journey of Discovery and Transformation | 2010 | Reflective essay or personal narrative |