A war of songs : popular music and recent Russia-Ukraine relations / Arve Hansen, Andrei Rogatachevski, Yngvar Steinholt, and David-Emil Wickström ; with a foreword by Artemy Troitsky.

Includes bibliographical references and index.

Print version record.

Intro; Contents; List of Tables and Pictures; Quoted lyrics; Glossary; Abbreviations; Acknowledgements and Technicalities; Foreword; Introduction; 1 Pop Rock, Ethno-Chaos, Battle Drums and a Requiem: The Soundtrack of the Ukrainian Revolution; 1.1 Music and the History of Protests in Ukraine; 1.2 The Main Locations of Protest Music; 1.2.1 The 'Political' Camp; 1.2.2 The 'Apolitical' Camp; 1.2.3 The Anti-Maidan Camp; 1.2.4 Social Media; 1.3 The Five Phases of Euromaidan; 1.3.1 Rise up! (21 -- 19 November 2013); 1.3.2 Vitia, Goodbye! (30 November 2013 -- 15 January 2014)

1.3.3 The Burning Tyre (16 January -- 20 February 2014)1.3.4 There Swims a Duckling (21 -- 23 February 2014); 1.3.5 Warriors of Light (23 February 2014 and beyond); 1.4 Common Features and General Tendencies; 1.5 The Many Anthems of the Euromaidan; 1.6 The Power of Music; 2 Euromaidan's Aftermath and the Genre of Answer Song: A Musical Dialogue Between Antagonists?; 2.1 Responses to New Base Songs; 2.2 Reworkings of Old Base Songs; 2.3 Conclusion; 3 Exposing the Fault Lines Beneath the Kremlin's Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem

3.1 A brief history of the Russian national anthem3.1.1 From "Gimn partii bol'shevikov" to "Rossiia sviashchennaia" -- Melody and Lyrics; 3.1.2 An Inviting Target; 3.1.3 The Anthem's Fatherland and Presentist Utopia; 3.2 The Parodies; 3.2.1 Parody 1: The Veteran Dissident's Anthem; 3.2.2 Parody 2: The Russian Anthem as Religious ecoNOMism; 3.2.3 Parody 3: The Unofficial Anthem of the Russian Official; 3.2.4 Parody 4: Death to the Empire!; 3.2.5 Parody 5: The Verdict of the Singing Truck Driver; 3.2.6 Parody 6: Framing is Everything -- The Sebastopol Apocryph

3.2.7 Bonus Track: A Grain of Truth and the Ideology of Masturbation3.3 Conclusion; 4 'Lasha Tumbai', or 'Russia, Good-Bye'? -- The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground; 4.1 Previous Research and Historical Context; 4.2 GreenJolly and the ESC in the Orange Revolution aftermath; 4.3 Dancing Russia Good-Bye -- Verka Serdiuchka and the 2007 ESC; 4.4 We Don't Wanna Put In -- The 2009 ESC in Moscow; 4.5 A Million Voices: Euromaidan's Impact on the ESC Stages; 4.6 1944 or 2014? Jamala and Crimea; 4.7 Celebrating Diversity with Iuliia Samoilova -- The ESC in Kyiv 2017

4.8 ConclusionConcluding Remarks and Possible Future Prospects; References; Bibliography; Filmography and music videos; Personal communication; Index

This multi-authored monograph consists of the sections: 'Pop Rock, Ethno-Chaos, Battle Drums, and a Requiem: The Sounds of the Ukrainian Revolution, ' 'The Euromaidan's Aftermath and the Genre of Answer Song: A Musical Dialogue Between the Antagonists'', 'Exposing the Fault Lines beneath the Kremlin's Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem, ' and ''Lasha Tumbai', or 'Russia, Goodbye'' The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground.'

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