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Relevant bibliographies by topics / Bortniansky

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Academic literature on the topic 'Bortniansky'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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Journal articles on the topic "Bortniansky"

1

Kuzma, Marika. "Bortniansky à la Bortniansky: An Examination of the Sources of Dmitry Bortniansky's Choral Concertos." Journal of Musicology 14, no. 2 (1996): 183–212. http://dx.doi.org/10.2307/763922.

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Kuzma, Marika. "Bortniansky a la Bortniansky: An Examination of the Sources of Dmitry Bortniansky's Choral Concertos." Journal of Musicology 14, no. 2 (1996): 183–212. http://dx.doi.org/10.1525/jm.1996.14.2.03a00030.

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3

Petryshyna, Tetiana. "Found Sacred Concerts of D. Bortniansky in the Context of the Traditions of Solo Vocal Performance." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 124–32. https://doi.org/10.31866/2410-1176.45.2021.247380.

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The purpose of the article is to study and introduce into scientific and public circulation the found sacred concerts of D. Bortniansky in the context of the traditions of solo vocal performance of the Classical period. The research methodology is based on historical, source-based, and analytical approaches. The historical method makes it possible to study the process of D. Bortniansky creation of sacred concerts and identify the reasons for the appearance of solo and ensemble structures in them. The source-based method allows us to outline the ways of the modern search for unknown concerts of

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4

Чувашов, Алексей Викторович. "Copyists of D. S. Bortniansky’s Music Manuscripts in Italy and Russia." Научный вестник Московской консерватории, no. 4(51) (December 29, 2022): 656–77. http://dx.doi.org/10.26176/mosconsv.2022.51.4.01.

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В статье идет речь о нотных копиистах композитора Д. С. Бортнянского - Дж. Бальдане (Венеция) и Л. Цанини (Санкт-Петербург). Труд людей этой профессии долгое время считался сугубо вторичным, не заслуживающим отдельного изучения. Автором статьи впервые атрибутирован почерк Бальдана в копиях сочинений Бортнянского итальянского периода, а также составлен список копий сочинений композитора, выполненных Бальданом и Цанини. Приведены факты биографии Бальдана, до настоящего времени не введенные в научный обиход в отечественном музыкознании. Представленная информация расширяет представления о круге об

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5

Shumilina, Olga. "OPERA "CREONT" BY DMYTR BORTNIANSKY: FROM PORTUGAL TO UKRAINE." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(63) (June 26, 2024): 37–54. http://dx.doi.org/10.31318/2414-052x.2(63).2024.310283.

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The article examines the creative activity of the outstanding Ukrainian artist Dmytro Bortnyanskyi as an opera composer. The focus is on the operas of his Italian creative period (1768 - 1779) - Creont (1776, Venice), Alcides (1778, Venice) and Quintus Fabius (1779, Modena). The happy modern stage fate of the opera "Alkid" is indicated, its score was published in Kyiv in 1985. The found manuscript of the score by Dmytro Bortnyansky's first opera "Creont" provides new opportunities for studying the artist's work, this score was considered to be lost for a long time; after establishing the locat

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Salkowski, David. "The “Economy of Incarnation” and the Cherubic Hymn in Nineteenth-Century Russia." Journal of Musicology 41, no. 1 (2024): 115–48. http://dx.doi.org/10.1525/jm.2024.41.1.115.

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The Russian Orthodox liturgy constantly hovers on the boundary of representation and supposed real presence of the divine. This tension is dramatically illustrated by the Cherubic Hymn, which purports to “mystically represent” angelic song and accompanies the transfer of the bread and wine that will be transformed into the body and blood of Christ in the Eucharist. The Cherubic Hymn was the most commonly set liturgical text in modern Russia, attracting many of Russia’s leading composers, including Dmitry Bortniansky, Mikhail Glinka, Pyotr Tchaikovsky, Milii Balakirev (who arranged the text to

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Admink, Admink, та Інна Антіпіна. "ХОРОВИЙ ПЕРФОРМАНС ЯК НОВИЙ НАПРЯМ У СУЧАСНОМУ КУЛЬТУРНОМУ ПРОСТОРІ". УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), № 33 (3 травня 2020): 60–66. http://dx.doi.org/10.35619/ucpmk.vi33.290.

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Досліджено новаторську тенденцію в хоровому виконавстві, спричинену пошуком сучасних форм актуалізації хорового співу. Спираючись на результати власних спостережень та аналіз діяльності камерного хору ім. Д. Бортнянського під керівництвом І. Богданова, виявлено нові культурні складові хорових проектів (перформансів). Визначено практичну значимість культурно-просвітницьких заходів даного типу та можливі шляхи розвитку цього напряму. Висвітлено роль використанні психологічних прийомів маніпуляції з елементами тренінгу та використання новітніх інтерактивних технологій в проекті «Welcome to rabstv

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Kliuchynska, Nataliia. "THE ASPECTS OF MUSIC PALAEOGRAPHY IN THE MANUSCRIPT OF DMYTRO BORTNIANSKY OPERA «FALCON» (1786) FROM THE BRITISH MUSEUM LIBRARY." Scientific collections of the Lviv National Music Academy named after M V Lysenko, no. 52 (2024): 12–20. https://doi.org/10.32782/2310-0583-2024-52-03.

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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.

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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composer

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Bondarenko, Andrii. "On Monoculturalism Issue in Music." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 73–78. https://doi.org/10.31866/2410-1176.45.2021.247350.

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The purpose of the article is to analyse the context of the use of the term monoculturalism in music, determine the features of the relation with the concept of multiculturalism, outline the prospects for their application. Research methodology. Analytical and comparative methods are to analyse the context of the application of the term monoculturalism in cultural and music literature and compare the meanings in the interpretation by different researchers. The scientific novelty of the study is the definition of criteria for applying the concepts of monoculture (monoculturalism) and multicultu

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Book chapters on the topic "Bortniansky"

1

"Bortniansky and the 1780s." In Eighteenth-Century Russian Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315094601-8.

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"Bortniansky in the Nineteenth Century." In Eighteenth-Century Russian Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315094601-14.

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"Lessons of the 1770s: Berezovsky and Bortniansky in Italy." In Eighteenth-Century Russian Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315094601-6.

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