Academic literature on the topic 'Composers, russia'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Composers, russia.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Composers, russia"
1
Klujev, Alexander S. "Philosophy of Music in the Mirror of the Contemporary Age. Article 2." Russian Journal of Philosophical Sciences 64, no. 7 (July 15, 2021): 137–50. http://dx.doi.org/10.30727/0235-1188-2021-64-7-137-150.
Full textAbstract:
The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers (Soprotivlenie Materiala – “Resistance of Material”) are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group (Muzykal’noe Ob’edinenie “Sovremennaya Traditsiya” – Musical Association of Contemporary Tradition). Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries.
2
Quillen, William. "Winning and Losing in Russian New Music Today." Journal of the American Musicological Society 67, no. 2 (2014): 487–542. http://dx.doi.org/10.1525/jams.2014.67.2.487.
Full textAbstract:
This article examines some of the organizational changes shaping Russian new music from the collapse of the USSR in 1991 to the present and their consequences for composers active in Russia today. The Soviet collapse triggered significant transformations in how new music in Russia is funded, where and by whom it is performed, and how it is promoted and distributed. These developments have affected the opportunities available to contemporary Russian composers, their strategies for career success, and how they envision their place vis-à-vis other composers or within society at large. More significantly, such changes have shaped individual composers' creative practices: as composers moved into new collaborative networks after the Soviet collapse; as the resources at their disposal changed; and as they composed for new performers, markets, or patrons, so, too, did their styles change. In explaining musical developments from an organizational perspective, this article draws upon theories from the sociology of culture literature, in particular Howard Becker's idea of “art worlds” and the production-of-culture perspective developed by Richard Peterson and others. The article also considers factors other than organizational ones affecting Russian music today, including the generational shift presently underway as members of post-Soviet birth cohorts enter the professional ranks.
3
Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.
Full textAbstract:
In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.
4
Mezentseva, Svetlana V. "The Russian Far East — China: Ways and Prospects of Interaction in Academic Musical Culture." Observatory of Culture 18, no. 4 (October 11, 2021): 366–76. http://dx.doi.org/10.25281/2072-3156-2021-18-4-366-376.
Full textAbstract:
The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.
5
Manulkina, Olga. "The Rite of Beauty: an introduction to the music of Leonid Desyatnikov." Tempo, no. 220 (April 2002): 20–24. http://dx.doi.org/10.1017/s0040298200009025.
Full textAbstract:
Leonid Desyatnikov is one of the most successful Russian composers of his generation and one of the most distinctive and individual on the contemporary Russian scene. He represents a rare instance of a contemporary composer in his mid-forties who has had all his works performed, some of them on many occasions. In the West, his music has been played by the Deutsche Sym-phony and the Leipzig Gewandhaus Orchestra. His vocal cycle Five poems by F. Tyutchev has been performed recently in London and Aldeburgh. Beginning in the mid-1990s, Gidon Kremer became the main champion of Desyatnikov's music; he has commissioned, performed and recorded a number of Desyatnikov's original works as well as his arrangements of Astor Piazzolla's music. To date, Kremer has performed Desyatnikov's Russian Seasons, for violin, female voice and string orchestra, composed in 2000, fifteen times in Europe, the Baltic countries and Russia. On 1 May 2002, he will present its American premiére at Carnegie Hall. The fact that Kremer, who earlier brought the music of such composers as Alfred Schnittke and Sofia Gubaidulina to international attent ion, has now ‘chosen’ Desyatnikov speaks volumes for the quality of the music.
6
Ivashkin, Alexander. "JOHN CAGE IN SOVIET RUSSIA." Tempo 67, no. 266 (October 2013): 18–27. http://dx.doi.org/10.1017/s0040298213000831.
Full textAbstract:
AbstractJohn Cage's music was little known in the Soviet Union until the late 1960s, as official communist cultural policy would not allow his music to be performed or researched. This makes it all the more surprising that the only visit by the composer to Soviet Russia had become possible by 1988. The Soviet officials were planning a large festival of contemporary music in St Petersburg in 1988. With the changing climate Tikhon Khrennikov, the secretary of the All Soviet Union League of Composers, appointed by Stalin in 1948, was keen to be seen as a progressive at the time of Gorbachev's perestroika, and he approved the invitation for Cage to be present at the performances of his works in St Petersburg. This article includes interviews with the composer conducted by the author in 1987–1989, as well as recollections of the meetings with Cage at his home in New York City and in Moscow.
7
Xiaolin, Xie. "Musical, Cultural and Historical Aspects of Adding a Middle Pedal to Piano Sounds by Russian and Chinese Composers." OOO "Zhurnal "Voprosy Istorii" 2021, no. 12-3 (December 1, 2021): 143–50. http://dx.doi.org/10.31166/voprosyistorii202112statyi97.
Full textAbstract:
The article is devoted to a historical review of the musical and cultural aspects of Russian and Chinese composers’ usage of the middle pedal in the piano-playing process. In the piano music of Russian and Chinese composers-musicians, the importance and significance of the pedal as a means of producing expressiveness are exposed. The technique of pedal subtleties, which was used by Russian and Chinese pianists at different times in the development of the piano art, gives special emphasis. The similarities and differences in stylistics, principles, and pedaling techniques in the process of playing the piano in modern Russia and China are discussed.
8
Gevorkian, Armen. "Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction)." Literary Fact, no. 15 (2020): 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
Full textAbstract:
While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
9
Kouprovskaia-Bruggeman, Ekaterina O. "On the History of Russian-French Cultural Ties: A French Mark on the Life and Artwork of the Composer Edison Denisov." Koinon 3, no. 1 (2022): 134–60. http://dx.doi.org/10.15826/koinon.2022.03.1.010.
Full textAbstract:
The subject of research in the article is the life and work of the composer Edison Denisov in the context of connections with French culture. The study of these over-the-half-century-long ties makes it possible to fill «white spots», first, in the broader subject of Russian-French cultural relations: Soviet and post Soviet contacts and influences studied on the representative material of musical art, second, in the topic of local but no less important: the role of France and its culture throughout E. Denisov’s life. The life and work of E. Denisov is a largely successful and multifaceted presentation of the French «footprint» in Russian culture in the second half of the 20th century. The material to be analyzed is multidimensional: biographical references to French art (music, literature, painting) and language; various contacts with French culture: writers, composers, musicians, ensembles and orchestras; Literary texts (B. Vian, G. Bataille) when writing music; the immersion in philosophical and humanitarian texts (R. Bart, M. Foucault, J.-P. Sartre); influence of mathematics and the structuralist method on the composer’s mastery (H. Poincaré, C. Lévi-Strauss) ; creative dialogue with works of a composer and theorist P. Bulez; the role of France in promoting Denisov’ music in the West; active educational activity of Denisov in promoting French music in Russia. A separate section of the article analyzes the influence of French composers on Denisov, and also highlights his participation in the restoration and orchestration of the unfinished opera of Claude Debussy «Rodrigo and Ximena». The article focuses only on the composer’s vocal works. The author thoroughly exqamines the works on poetry of French poets (Ch. Baudelaire, G. de Nerval, B. Vian, R. Char, H. Michaud, G. Bataille), the opera “Froth on the Daydream” based on the novel by B. Viana, the opera “Four Girls” on the play by Pablo Picasso.
10
Pavlova-Borisova, Tat'yana Vladimirovna, and Milena Mikhailovna Kuz'mina. "Yakut national school of composers and works of the first Even composer P. M. Starostin: review experience." Философия и культура, no. 12 (December 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.12.34736.
Full textAbstract:
This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of young national schools of composers (M. N. Drozhzhina, M. Y. Dubrovskaya, L. L. Pylneva, and others.). The following conclusions were made: professional becoming of the first Even composer P. M. Starostin was within the framework of Yakut national school of composers; the primary source for his works became the rich Even folklore – epic tales, ritual genres, song lyrics. The artistic heritage of P. M. Starostin is unique and versatile in genre, featuring the large forms such as opera and cantata, as well as the chamber-vocal oeuvres and compositions for children. The geography of the young national schools of composers spread to the northeast of Russia, where is successfully functioning the Yakut national school of composers. The Yakut national school of composers becomes the new center, forming prerequisites for the establishment of national schools of composers of the indigenous peoples of the North living in the Arctic zone. The reviewed experience of the first Even composer P. M. Starostin indicates this process. The novelty of this research consists in introduction of information on the life and works of the first Even composer P. M. Starostin into the scientific discourse. Such analysis was carried out for the first time.
Dissertations / Theses on the topic "Composers, russia"
1
Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.
Full text
2
Akhmadullin, Iskander. "The Russian trumpet sonata a study of selected representative sonatas for trumpet and piano with an historical overview of the Russian trumpet school, together with three recitals of selected works by Viviani, Chaynes, Böhme and others /." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4244/.
Full textAbstract:
The impact of training on virtual team effectiveness was assessed in five areas: communication, planning tasks and setting goals, solving problems and making decisions, resolving conflict, and responding to customer requirements. A 12-page survey was developed exploring all aspects of virtual teams. 180 surveys were distributed, 52 were returned representing 43 companies. Training led to higher effectiveness in planning tasks and setting goals, solving problems and making decisions, and conflict resolution, but not in communication and responding to customer requirements. Training may not solve all the problems that virtual teams will encounter; however, training will make the challenges easier to handle.
3
Powell, Jonathan Anthony. "After Scriabin : six composers and the development of Russian music." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.
Full text
4
Choi, Min-Kyung. "Distinctive pianism in selected works of twentieth-century Russian composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3076.
Full text
5
Lombardino, Marc Rene. "Music of the imperial ballet in tsarist Russia| The collaboration of the composer and the balletmaster." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599185.
Full textAbstract:
Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa’s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective.
6
Muir, Stephen Phillip Katongo. "The operas of N. A. Rimsky-Korsakov from 1897 to 1904." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367629.
Full text
7
Copping, Roxanne Celine. "Composers and the Ballets Russes : convention, innovation, and evolution as seen through the lesser-known works." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/composers-and-the-ballets-russes--convention-innovation-and-evolution-as-seen-through-the-lesserknown-works(1357e7f5-17c5-4d98-a32a-13f4ba8bfda1).html.
Full textAbstract:
The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three sections, representing works composed before, around the same time as, and after, Stravinsky’s notorious masterpiece. Following a brief introduction, and a descriptive chapter outlining Diaghilev’s artistic heritage, as well as Paris before the arrival of his company, the first section deals with the Ballets Russes’s early modus operandi; focusing on Nikolai Tcherepnin’s Le Pavillon d’Armide and Reynaldo Hahn’s Le Dieu bleu. The next explores the Ballets Russes in the wake of Le Sacre du Printemps, using Erik Satie’s Parade as an example of a ballet indebted to Stravinsky’s innovations. However, influence was not entirely a one-way phenomenon, and part of this section also discusses connections between the early Ballets Russes works and Le Sacre. Finally, the season of French ballets performed in 1924 allows me to reflect on the stylistic changes that occurred in the later years of the company, using Darius Milhaud’s Le Train bleu, Georges Auric’s Les Fâcheux, and Francis Poulenc’s Les Biches as examples of the company’s shift to an enterprise that placed greater emphasis on the visual. This research argues that even the lesser-known works, despite their apparent lack of musical innovation, contributed to the more path-breaking scores that have come to command scholarly interest. Moreover, the seasons I have highlighted reflect the changing ideologies of Diaghilev and his company, as it evolved from a Russian troupe inspired by the Mir Iskusstva, to a European artistic collective presenting the ideas of Cocteau and Les Six to Paris. Areas of future research extend from this thesis, as many other lesser-known ballets not encompassed here would clearly benefit from detailed scrutiny. Applying the principles of musical examination here outlined, together with an open-minded approach to new historical perspectives, should further help to redress the balance of scholarly attention that has skewed the overall understanding of the Ballets Russes.
8
Gross, Jeanne Bilger. "Benjamin Russel Hanby, Ohio composer-educator, 1833-1867: His contributions to early music education /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148758461216499.
Full text
9
Caumel, Marie-Julie. "Regards croisés sur l'accordéon classique : un état des lieux de l'enseignement et du répertoire en France et en Russie." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLE049/document.
Full textAbstract:
Inventé en Autriche en 1829, l'accordéon est introduit en France dès l'année suivante et s'impose rapidement dans les salons bourgeois, avant de connaître un essor fulgurant dans les rues et les lieux de danse. Devenu un symbole de divertissement dès le début du siècle suivant, il a ensuite dû sortir des sphères intimes dans lesquelles il évoluait et se confronter à ses détracteurs pour conquérir petit à petit des mondes qui n'étaient pas siens. Dans une première partie historique, nous sommes revenue sur l'histoire de l'accordéon en France, afin de comprendre comment l'instrument a intégré peu à peu toutes les sphères musicales et quels ont été les acteurs de cette évolution. Si notre propos traite principalement de l'accordéon français, nous avons tout de même choisi d'étendre partiellement notre objet d'étude à la Russie car la confrontation de deux grandes écoles et de deux visions différentes de l'instrument nous semblait pertinente pour une meilleure compréhension de son histoire. De surcroît, si l'accordéon est apparu en Russie peu de temps après son émergence en France et que sa facture a évolué là-bas de façon similaire, l'instrument ne semble pas avoir autant souffert de cette dichotomie populaire/savant. De son intégration dans un effectif orchestral par Tchaïkovski en 1883 à son entrée dans les conservatoires de Moscou et de Saint-Pétersbourg dans les années vingt, il a ouvert plus rapidement des portes qui lui demeuraient encore fermées dans notre pays. L'intégration institutionnelle de l'accordéon marqua notamment un tournant important dans son histoire et nous avons choisi de mettre en lumière, dans notre deuxième chapitre, l'accordéoniste Jules Prez, professeur titulaire de la première classe d'accordéon dans un conservatoire français. Puis, nous avons dressé un état des lieux de la présence de l'instrument dans ce type d'établissement. Nous avons ensuite consacré notre troisième chapitre à l'étude de l'évolution du répertoire savant pour accordéon en France et en Russie, de l'éclosion des premières pièces originales jusqu'à nos jours. Dans notre dernière partie, nous avons enfin mené une brève analyse de plusieurs pièces pour accordéon solo, afin de montrer l'évolution de l'écriture accordéonistique, principalement dans le rôle dévolu au clavier main gauche. Si nous avons bien évidemment retenu des œuvres phares de la littérature, nous avons également choisi de traiter de compositions plus méconnues – voire oubliées – du répertoire. Cette présente thèse apporte donc des chiffres précis sur l'intégration actuelle de l'accordéon dans les conservatoires de France métropolitaine, appuyés par un catalogue de près de deux cent cinquante établissements ; une étude statistique sur l'évolution du répertoire savant depuis la composition des premières pièces originales pour l'instrument jusqu'à aujourd'hui, en France et en Russie, avec un catalogue de plus de mille trois cents œuvres ; et enfin, une série de témoignages de plusieurs acteurs et témoins de l'histoire de l'accordéon (compositeurs, concertistes, pédagogues et facteurs)Invented in Austria in 1829, the accordion was introduced in France the following year and quickly established in bourgeois salons, before experiencing a boom in the streets and dancing places. Being an entertainment symbol from the beginning of the next century, the accordion then had to leave the intimates spheres in which he evolved and confront his detractors to conquer step by step worlds that were not his. In a first historical part, we came back to the progressive legitimization of the accordion in France, in order to understand how the instrument gradually integrated all the musical spheres and who were the actors of this evolution. If our subject deals mainly with the French accordion, we have nevertheless chosen to partially extend our object of study to Russia because the confrontation of two great schools and two different visions of the instrument seemed pertinent to us for a better understanding of its history. Moreover, if the accordion appeared in Russia shortly after its emergence in France and that it has evolved there in a similar way, the instrument doesn’t seem to have suffered as much from this popular/savant dichotomy. From his integration into an orchestral ensemble by Tchaikovsky in 1883 to his entry in the conservatories of Moscow and Saint-Petersburg in the 1920s, he opened more quickly doors that were still closed in our country. The institutional integration of the accordion marked an important turning point in its history and we have chosen to highlight, in our second chapter, the accordionist Jules Prez, professor of the first accordion class in a French conservatory. Then, we presented the current situation of teaching for the scholar year 2016-2017, in order to observe the current state of the presence of classical accordion in conservatories of metropolitan France. Then, we devoted our third chapter to the study of the evolution of the savant repertoire for accordion in France and in Russia, from the birth of the first original pieces to the present day. Finally, in our last part, we conducted a brief analysis of several pieces for solo accordion, to show the evolution of accordion writing, mainly in the role assigned to the left hand keyboard. While we have of course selected some of the most important literary works, we have also chosen to deal with more unknown or forgotten compositions of the repertoire. This thesis gives precise figures on the current integration of the accordion in the conservatories of metropolitan France, supported by a catalog of nearly two hundred and fifty establishments ; a statistical study on the evolution of the savant repertoire from the composition of the first original pieces for the instrument to the present day, in France and Russia, with a catalog of more than one thousand and three hundred works ; and finally, a series of testimonies by several actors and witnesses of the history of the accordion (composers, concert players, pedagogues and factors)
10
Galentine, Shane Nelson. "The life and piano works of Alexander Tikhonovich Gretchaninoff (1864-1956)." Kansas State University, 2013. http://hdl.handle.net/2097/15769.
Full textAbstract:
Master of MusicSchool of Music, Theater, and Dance
Virginia Houser
Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.
Books on the topic "Composers, russia"
3
1929-, Brown David, ed. The New Grove Russian masters 1: Glinka, Borodin, Balakirev, Musorgsky, Tchaikovsky. London: Macmillan, 1986.
Find full text
4
Nice, David. Prokofiev: From Russia to the West, 1891-1935. New Haven: Yale University Press, 2003.
Find full text
5
Igor Stravinsky: A creative spring ; Russia and France, 1882-1934. London: Jonathan Cape, 1999.
Find full text
8
Walsh, Stephen. Stravinsky: A creative spring : Russia and France, 1882-1934. Berkeley: University of California Press, 2002.
Find full text
9
1904-1988, Abraham Gerald, ed. Russian masters 2: Rimsky-Korsakov, Skryabin, Rakhmaninov, Prokofiev, Shostakovich. New York: W.W. Norton, 1986.
Find full text
10
1929-, Brown David, ed. The New Grove Russian masters. New York: W.W. Norton, 1986.
Find full textBook chapters on the topic "Composers, russia"
1
Levitz, Tamara. "Stravinsky’s Cold War: Letters About the Composer’s Return to Russia, 1960–1963." In Stravinsky and His World, 273–318. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400848546-014.
Full text
2
"Russia under Putin:." In Russian Composers Abroad, 304–23. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv23c33rs.22.
Full text
3
Issiyeva, Adalyat. "Ethnographic Concerts in the Service of Empire." In Representing Russia's Orient, 209–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.003.0007.
Full textAbstract:
This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.
4
Taruskin, Richard. "Is there a ‘Russia Abroad’ in Music?" In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0014.
Full textAbstract:
Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian composers living abroad as émigrés—and asserts that the latter, not the former, are the ones producing the true Russian music of the day—this paper considers (in the light of Marc Raeff’s Russia Abroad and its treatment of émigré culture) what it takes to maintain a cultural community in diaspora, and whether expatriated Russian musicians have ever constituted such a community.
5
Kildea, Paul. "A Composer in Russia (1965)." In Britten on Music, 281–84. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0084.
Full textAbstract:
Abstract On the way to the airport we found we were short of things to read, and a hurried search at a bookshop produced the Penguin edition of Pushkin’s poems.With the verse in Russian and an English prose translation, this was the ideal supplement to our pre-breakfast struggles with irritatingly forgettable vocabulary and irregular verbs. And so, with Slava and Galya Rostropovich, we flew into Moscow for dinner and drove out to their dacha for the night.Two days later the Armenian hospitality began in all its touching, overwhelming force. We were going merely on a holiday, with Slava as host and ruthless sentry against intrusion-what he called donning imaginary tunic and bearskin, ‘a soldier of Buckingham’.Yet up from Yerevan1 came an important official from the Composers’ Union to look after us; and on the plane we were greeted on the loudspeaker by name, and we fastened our seat-belts to instructions in English first, before Russian and Armenian. At dinner in Yerevan that night we had our baptism of fire from Armenian alcoholic toasts.Next day we were whisked off to the Composers’ Colony at Dilidjan, about mo km. over mountainous roads from Yerevan. Driving up towards the Caucasus through thick fog, we missed the bands of children waving flags and holding flowers for us (though some of them did appear later and said, ‘Weelcome’, once or twice).
6
Raku, Marina, Rita McAllister, and Gabrielle Cornish. "Prokofiev and the Russian Tradition." In Rethinking Prokofiev, 3–18. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0003.
Full textAbstract:
Defining the music of Prokofiev in terms of the Russian tradition, or what “Russianism” means in relation to the composer, is complex. The young Prokofiev rebelled against his musical background; he spent nearly twenty years abroad, then returned to a changed Russia, where he was to remain something of an outsider. Yet Russia as a country and as a concept was fundamental to his creativity—both the St. Petersburg nationalism of the Kuchka and the wider Romanticism of Chaikovsky. They informed his wide palette of styles, as did the composers and writers of the Silver Age. With these and with elements of both folk song and the Russian Romance, Prokofiev had a lifelong dialogue, helping to define his unique national identity.
7
Taruskin, Richard. "Just How Russian Was Stravinsky?" In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0014.
Full textAbstract:
Stravinsky’s career took him from Russia to Switzerland to France to the United States. He exemplified and explicitly asserted cosmopolitanism. Nevertheless, post-Soviet Russia has reclaimed him and in the West as well he is more likely than he used to be to be classified with other Russian composers. This article assesses the claim.
8
Hillier, Paul. "Biographical Notes." In Arvo Pӓrt, 24–33. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780198165507.003.0002.
Full textAbstract:
Abstract Although Part was born and grew up in Estonia, any suggestion that his music could be characterized as ‘Estonian’ would be misleading: it makes no use of Estonian themes or motifs,1 and offers no imaginative evocation of anything that might be interpreted as having a national identity; nor, apart from a couple of early cantatas, does the composer choose the Estonian language for his texts. Yet it is unlikely that the composer’s unique musical and spiritual identity could have been created anywhere else. Part has avowed that his musical education is Western, while his spiritual education is Eastern. But the particular significance of these compass points only becomes meaningful if we know the central reference point from which they emanate. In Part’s case, of course, that is Estonia, wedged between East (Russia and the Orthodox Church) and West (Germany and Scandinavia). His ‘Western’ musical training dwelt on the conventional canon of great composers, though it also owed a great deal at a local level to Russian models. However, despite its proximity to Russia, the Estonian capital, Tallinn, has the unmistakable air of being a European city, attached firmly to a cultural perspective that links cities along the Baltic coast and eventually winds round to places like Amsterdam and Copenhagen, and across land to Berlin and Prague; intellectually, this is primarily a Germanic heritage.
9
Gevorkyan, Armen V. "Circle of Merezhkovsky-Gippius: Russian Symbolists and Russian Composers." In Merezhkovskys’ Circle: On the Occasion of the 150th Anniversary of Z.N. Gippius, 251–74. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0679-6-251-274.
Full textAbstract:
The article examines historical and literary aspects of the compilation of annotated indexes of Russian Symbolists on the example of D.S. Merezhkovsky and Z. Gippius. The problems included in the title presuppose its research in the literary aspect — the study of the facts of the biography of poets, their personal and creative relationships with composers, epistolary, communication in various circles and organizations, reviews and responses in periodicals to the transposition of their works to music. Research can also significantly supplement the existing chronologies of the cultural and literary life of Russia at the end of the 19th and beginning of the 20th centuries, chronicles. Moreover, research can also reveal previously unknown translations of literary texts (it is known that the notebooks of the musical publishing house of P. Jurgenson were not published only by the original text of the work, translated into music, but also their translation into one of the European languages, usually German or French). The appendix contains L. Esbeer’s translations of V.Ya. Bryusov and D.S. Merezhkovsky.
10
Werth, Paul W. "Introduction." In 1837, 1–8. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198826354.003.0001.
Full textAbstract:
To know Russia, you really have to understand 1837. That is the main message of this intriguing and unusual book. In ten chapters ranging from culture and ideas to empire and industry, it paints a rich and vivid portrait of the world’s largest country at a critical moment, when modern Russia acquired many of its most distinctive and outstanding features. Composers and poets, engineers and imperialists, philosophers and grand princes, peasants and camels, beards and potatoes—all make their appearance, and together they helped to forge the quiet revolution that changed Russia forever. Indeed, Russia is what it is today, in no small measure, because of 1837.
Conference papers on the topic "Composers, russia"
1
Michajlova, Irina M. "SISTER BEATRICE IN BELGIUM, THE NETHERLANDS AND RUSSIA 20TH–21ST CENTURIES." In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063581.
Full textAbstract:
The article aims to trace the ways of transfer of the medieval Dutch story about Sister Beatrice (Beatrijs) into Russia and its reception by Russian culture in the 20th–21st centuries. To do this, the plot of the Legend about Beatrice (manuscript 14th century) is briefly outlined and three of the most outstanding works by Dutch and Belgian authors based on the same plot, are described. The story of Beatrijs reached Russia thanks to the play of Maeterlinck, a cult playwright among Russian symbolists. In 1906–1908, the performance of the Komissarzhevskaya Theater “Sister Beatrice” staged by V. E. Meyerhold was a huge success. This performance inspired at least three Russian composers to create operas based on this Western European story. The creation of Roerich’s masterpiece “In the Monastery’ (1914), which embodied his synesthetic experiences, is connected with the musical interpretation of the theme of Beatrice.
2
Kazantseva, Liudmila, and Polina Volkova. "The Connotations of “Russian” in Music of Foreign Composers on “a Russian Theme”." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.108.
Full text
3
Чжао, Яньчжань. "The influence of Russian piano music on the work of Chinese composers." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.82.60.079.
Full textAbstract:
автор представляет краткий обзор становления фортепианной музыки в Китае, особое внимание обращая на влияние русской и советской музыкальной культуры и творчество самобытных китайских композиторов, использующих в своем творчестве народные мотивы. the author presents a brief overview of the formation of piano music in China, paying special attention to the influence of Russian and Soviet musical culture and the work of original Chinese composers using folk motifs in their work.
4
Cabacov, Dmitrii. "Cine merge tot pe drum for flute, violin, cello and vibraphone by Snejana Pîslari: features of composition and musical language." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.20.
Full textAbstract:
The article analyzes the work by Snejana Pîslari „Cine merge tot pe drum” for flute, violin, cello and vibraphone. The compositional task was formulated by S. Pîslari as the synthesis of folklore material with the principles of building a minimalist composition, since one of the impulses for the creation of the named work became the musical controversy with the Russian composer V. Martynov and his book „The End of the Composer's Time”. Therefore, the use of a folkloric quotation was a fundamental condition for the author. The second musical impulse for the appearance of this work was born after S. Pîslari's journey through the Moldovan villages. The work is written in simple multipart form with features of triple variations, the basic principles of intonational and thematic development are variational and variable. The structure, according to the composer's plan, does not imply completeness, therefore the moment of the end of the work takes on a philosophical significance, testifying to the infinity of the path.
5
Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.
Full textAbstract:
The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.
6
Bukhtayarova, Elena Yurevna. "Teaching of preschoolers with severe speech disorders ability to compose creative stories." In All-Russian Scientific and Practical Conference, chair Mariia Viacheslavovna Druzhinina. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98540.
Full text
7
Румянцева, Маргарита Алексеевна. "THE QUESTION OF HARMONIC HEARING IN RUSSIAN MUSICOLOGY." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Февраль 2022). Crossref, 2022. http://dx.doi.org/10.37539/ecs301.2022.15.18.003.
Full textAbstract:
Статья посвящена вопросу определения понятия гармонического слуха и способов его развития. Отмечается внимание отечественных композиторов, педагогов и музыкальных деятелей к рассмотрению гармонического слуха как одной из главной составляющей частей музыкального слуха. The article is devoted to the definition of the concept of harmonic hearing and ways of its development. The attention of Russian composers, teachers and musical figures to the consideration of the harmonic hearing as one of the main components of the musical hearing is noted.
8
Leonova, L. V., A. I. Antoshkina, and Yu S. Simakova. "Specific minerals in bryozoan bioherms and polychaetian limestones (Kazanthip reserve, Crimea)." In All-Russia Lithological Meeting «Geology of reefs». Institute of Geology FRC Komi SC UB RAS, 2020. http://dx.doi.org/10.19110/98491-013-71-73.
Full textAbstract:
The object of our research is the Kazantip Cape (Kerch Peninsula, Crimea). Its attraction is a ring-shaped rock massif composed of bryozoans previously considered to be a reef structure growing on the limbs of rising brachyanticline about 8 million years ago. Application of complex of investigating methods show that clay deposits underlying bryozoan structure are composed of expandable mixed-layered minerals, smectite, kaolinite, chlorite, illite with accessory minerals (zircon, monazite, ilmenite). These clays are the result of eruption of fossilized analogue of mud volcano. This process was accompanied by unloading of cold gas-fluid seepage. Specific mineralization (barite, celestine, strontianite, authigenic minerals of rare-earth elements and manganese) of bryozoan’s bioherms indicates that the seep process continued even after the waning of mud volcanism.
9
Kudoyarov, Rustem. "Benjamin Britten's Piano Concerto in the Context of the Composer's Creative Connections with Russian (Soviet) Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.169.
Full text
10
Gorbunova, Natalia. "Time out for Scriabin (the composer’s image in the soviet music journal of the stalinist era)." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.10.
Full textAbstract:
During the Stalin era, interest in the composer Scriabin noticeably weakened compared to the 1910s and 1920s. Nevertheless, the discussion of his works and personality continued. Particularly, in the 1930s and 1940s, his role in the Soviet vision of world art was formed. In the specialized music journal „Soviet Music” during those years, the Soviet myth of Scriabin was constructed. For this purpose, the epistolary heritage and early writings were studied, his work and the influence of Russian culture on him were discussed — as a result, the image of a deluded genius was created.
Reports on the topic "Composers, russia"
1
Biancalana, Cecilia. Italy’s multiple populisms facing the Russo-Ukrainian war. European Center for Populism Studies (ECPS), March 2023. http://dx.doi.org/10.55271/rp0022.
Full textAbstract:
Italy has been defined as a laboratory for populism and a “populist paradise.” Indeed, multiple forms of populism coexist in Italy, covering the entire political spectrum. From the “left-wing” Movimento 5 Stelle to the right-wing coalition composed of Fratelli d’Italia, Forza Italia and the Lega, we can be sure that populism is very popular in Italy. We can be equally sure that, over the last few years, all these parties have had links to the Putin regime. Suffice it to mention the decades-long friendship between Silvio Berlusconi and Vladimir Putin or the admiration Matteo Salvini, the head of the Lega, has demonstrated for the president of the Russian Federation. However, the Russian invasion and the extensive popular and institutional support evinced for Ukraine in its wake changed everything, leaving populist parties scrambling to review their positions and modify their discourse. In the report, I will examine the ties between the main Italian populist parties (Fratelli d’Italia, Forza Italia, Lega, Movimento 5 Stelle) and Russia and the shifts in their positions towards President Putin in the aftermath of the invasion. Against this backdrop, the September 2022 elections in Italy can be considered as a “test case” to measure the success of the populist parties’ strategies to negotiate the crisis and to shed light on the changing balance of power within the broad populist field.
2
Tsybekmitova, G. Ts, L. D. Radnaeva, N. A. Tashlykova, V. G. Shiretorova, A. K. Tulokhonov, B. B. Bazarova, and M. O. Matveeva. THE EFFECT OF CLIMATIC SHIFTS ON BIODIVERSITY OF PHYTOCENOSIS: LAKE ARAKHLEY (EASTERN SIBERIA, RUSSIA). DOICODE, 2020. http://dx.doi.org/10.18411/0973-7308-2020-35-3-77-90.
Full textAbstract:
Lake Arakhley is located within the Lake Baikal basin in Eastern Siberia, Russia. The area is characterized by continental subarctic climate with considerate diurnal temperature range, long cold dry winters and short hot summers with more precipitation occurring during the latter half of the summer. Climatic shifts in high water years and low water years result in morphometric changes in the lake and in the chemical and physical parameters of the ecosystem. During low water years, concentrations of ammonium nitrogen and nitrite nitrogen are decreased, whereas nitrate concentration increases. High water years feature average concentrations of ammonium ions 1.5–2 times higher than the values of recent dry years. Redundancy analysis (RDA) of abiotic factors and biotic community indicated that the community structure shows the greatest correlation with physical and chemical parameters of water and biogenic elements (nitrites, ammonium, phosphates) along the first axis, and with the lake depth and transparency along the second axis. Changes in abiotic factors induce functioning and formation of characteristic communities of the primary producers in the trophic structure of the ecosystem. During low water years, with increased level of autochthonous organic matter, Lindavia comta dominance is observed, while during high water years, with increased allochthonous organic matter Asterionella formosa appeared as dominant. Currently, during low water years, the hydrophytes community is monodominant and composed of Ceratophyllum demersum. Meanwhile, such species indicating eutrophic conditions as Myriophyllum sibiricum, Potamogeton pectinatus are found in the lake vegetation.
3
Ginzberg, Idit, and Walter De Jong. Molecular genetic and anatomical characterization of potato tuber skin appearance. United States Department of Agriculture, September 2008. http://dx.doi.org/10.32747/2008.7587733.bard.
Full textAbstract:
Potato (Solanum tuberosum L.) skin is composed of suberized phellem cells, the outer component of the tuber periderm. The focus of the proposed research was to apply genomic approaches to identify genes that control tuber skin appearance - smooth and shiny skin is highly preferred by the customers while russeted/netted skin potatoes are rejected. The breeding program (at Cornell University) seeks to develop smooth-skin varieties but has encountered frequent difficulties as inheritance of russeting involves complementary action by independently segregating genes, where a dominant allele at each locus is required for any degree of skin russeting. On the other hand, smooth-skin varieties frequently develop unsightly russeting in response to stress conditions, mainly high soil temperatures. Breeding programs in Israel aimed towards the improvement of heat tolerant varieties include skin quality as one of the desired characteristics. At the initiation of the present project it was unclear whether heat induced russeting and genetically inherited russeting share the same genes and biosynthesis pathways. Nevertheless, it has been suggested that russeting might result from increased periderm thickness, from strong cohesion between peridermal cells that prevents the outer layers from sloughing off, or from altered suberization processes in the skin. Hence, the original objectives were to conduct anatomical study of russet skin development, to isolate skin and russeting specific genes, to map the loci that determine the russet trait, and to compare with map locations the candidate russet specific genes, as well as to identify marker alleles that associated with russet loci. Anatomical studies suggested that russet may evolve from cracking at the outer layers of the skin, probably when skin development doesn’t meet the tuber expansion rate. Twodimensional gel electrophoresis and transcript profiling (cDNA chip, potato functional genomic project) indicated that in comparison to the parenchyma tissue, the skin is enriched with proteins/genes that are involved in the plant's responses to biotic and abiotic stresses and further expand the concept of the skin as a protective tissue containing an array of plantdefense components. The proteomes of skin from heat stressed tubers and native skin didn’t differ significantly, while transcript profiling indicated heat-related increase in three major functional groups: transcription factors, stress response and protein degradation. Exceptional was ACC synthase isogene with 4.6 fold increased level in the heat stressed skin. Russeting was mapped to two loci: rusB on chromosome 4 and rusC on chromosome 11; both required for russeting. No evidence was found for a third locus rusA that was previously proposed to be required for russeting. In an effort to find a link between the russeting character and the heat-induced russeting an attempt was made to map five genes that were found in the microarray experiment to be highly induced in the skin under heat stress in the segregating russet population. Only one gene was polymorphic; however it was localized to chromosome 2, so cannot correspond to rusB or rusC. Evaluation of AFLP markers tightly linked to rusB and rusC showed that these specific alleles are not associated with russeting in unrelated germplasm, and thus are not useful for MAS per se. To develop markers useful in applied breeding, it will be necessary to screen alleles of additional tightly linked loci, as well as to identify additional russet (heat-induced and/or native) related genes.
4
Tabinska, Iryna, and Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.
Full textAbstract:
The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
5
Lewis, Dustin, ed. Database of States’ Statements (August 2011–October 2016) concerning Use of Force in relation to Syria. Harvard Law School Program on International Law and Armed Conflict, May 2017. http://dx.doi.org/10.54813/ekmb4241.
Full textAbstract:
Many see armed conflict in Syria as a flashpoint for international law. The situation raises numerous unsettling questions, not least concerning normative foundations of the contemporary collective-security and human-security systems, including the following: Amid recurring reports of attacks directed against civilian populations and hospitals with seeming impunity, what loss of legitimacy might law suffer? May—and should—states forcibly intervene to prevent (more) chemical-weapons attacks? If the government of Syria is considered unwilling or unable to obviate terrorist threats from spilling over its borders into other countries, may another state forcibly intervene to protect itself (and others), even without Syria’s consent and without an express authorization of the U.N. Security Council? What began in Daraa in 2011 as protests escalated into armed conflict. Today, armed conflict in Syria implicates a multitude of people, organizations, states, and entities. Some are obvious, such as the civilian population, the government, and organized armed groups (including designated terrorist organizations, for example the Islamic State of Iraq and Syria, or ISIS). Other implicated actors might be less obvious. They include dozens of third states that have intervened or otherwise acted in relation to armed conflict in Syria; numerous intergovernmental bodies; diverse domestic, foreign, and international courts; and seemingly innumerable NGOs. Over time, different states have adopted wide-ranging and diverse approaches to undertaking measures (or not) concerning armed conflict in Syria, whether in relation to the government, one or more armed opposition groups, or the civilian population. Especially since mid-2014, a growing number of states have undertaken military operations directed against ISIS in Syria. For at least a year-and-a-half, Russia has bolstered military strategies of the Syrian government. At least one state (the United States) has directed an operation against a Syrian military base. And, more broadly, many states provide (other) forms of support or assistance to the government of Syria, to armed opposition groups, or to the civilian population. Against that backdrop, the Harvard Law School Program on International Law and Armed Conflict (HLS PILAC) set out to collect states’ statements made from August 2011 through November 2016 concerning use of force in relation to Syria. A primary aim of the database is to provide a comparatively broad set of reliable resources regarding states’ perspectives, with a focus on legal parameters. A premise underlying the database is that through careful documentation of diverse approaches, we can better understand those perspectives. The intended audience of the database is legal practitioners. The database is composed of statements made on behalf of states and/or by state officials. For the most part, the database focuses on statements regarding legal parameters concerning use of force in relation to Syria. HLS PILAC does not pass judgment on whether each statement is necessarily legally salient for purposes of international law. Nor does HLS PILAC seek to determine whether a particular statement may be understood as an expression of opinio juris or an act of state practice (though it might be).