Relevant bibliographies by topics / Dmitry Shostakovich

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Academic literature on the topic 'Dmitry Shostakovich'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Dmitry Shostakovich"

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Braginsky, Dmitry. "Dmitry Shostakovich, sport and politics in the USSR." Sport in Society 17, no. 3 (June 27, 2013): 345–57. http://dx.doi.org/10.1080/17430437.2013.810423.

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Ford, Fiona. "The Early Film Music of Dmitry Shostakovich. By Joan Titus." Music and Letters 97, no. 4 (November 2016): 663–65. http://dx.doi.org/10.1093/ml/gcw098.

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Serov, Yu. "Satirical vocal cycles by Dmitry Shostakovich in the orchestration of Boris Tishchenko." South-Russian musical anthology, no. 2 (2021): 82–89. http://dx.doi.org/10.52469/20764766_2021_02_82.

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Ovsyankina, G. P., and E. N. Yakovleva. "Heroism in the Music of Dmitry Shostakovich and Composers of his School." Университетский научный журнал, no. 52 (2020): 85–90. http://dx.doi.org/10.25807/pbh.22225064.2020.52.85.90.

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Padgett, Andrew. "The Dialectic of Musical Socialist Realism: The Case of Dmitri Shostakovich." Transcultural Studies 9, no. 1 (2013): 103–11. http://dx.doi.org/10.1163/23751606-00901009.

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At the time of his death in 1975, Dmitri Shostakovich was widely recognised as the greatest composer of his generation, and the first master of the socialist realist symphony. However, Shostakovich’s successes were hard-won. They came on the back of denunciations in Pravda of two earlier ‘formalist’ works. In an effort to win the support of the Party leadership, Shostakovich subsequently transformed his compositional style to produce his popular Fifth Symphony. This paper examines what changed in Shostakovich’s style from his Fourth to his Fifth Symphonies, to establish precisely what musical socialist realism was, and how it was successfully composed, and the long term influence it had on the generation of Soviet composers who emerged after the thaw.
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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.

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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.
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Volkov, Solomon. "Universal Messages: Reflections in Conversation with Günter Wolter." Tempo, no. 200 (April 1997): 14–20. http://dx.doi.org/10.1017/s0040298200048397.

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(This interview with the editor of Testimony took place in New York in 1995, in connexion with the twentieth anniversary of Dmitri Shostakovich's death, and is published here in English for the first time.)Günter Wolter: Mr Volkov, how would you describe the acceptance or importance of Shostakovich's music since 1979? Has there been any significant change as a reaction to the publishing of ‘Testimony’.Solomon Volkov: Generally speaking, there was a rather drastic increase in Shostakovich's position on the musical scene of the 20th century. But it is very difficult for me to assess the particular importance in this process of the publication of Testimony because, if you are realistic, you understand that no single book, and no single performance could change the fate of a composer. But it could be part of a much broader process, and this process of change certainly occurred in the case of Shostakovich.
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SCHMELZ, PETER J. "What Was ““Shostakovich,”” and What Came Next?" Journal of Musicology 24, no. 3 (2007): 297–338. http://dx.doi.org/10.1525/jm.2007.24.3.297.

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The title of this article is borrowed from anthropologist Katherine Verdery's 1996 study What Was Socialism, and What Comes Next? In her book Verdery surveyed the recent changes in Eastern Europe, and specifically Romania, from her vantage point in the uncertain period following the momentous events from 1989 to 1991 in the former Soviet bloc. Similarly, this article explores how Shostakovich, widely perceived in 1975 as the musical representative of socialism, influenced what came after him. It details how Soviet composers from the younger generations, including Edison Denisov, Mieczysłław Weinberg, Boris Tishchenko, Alfred Schnittke, and Valentin Sil'vestrov, dealt with Shostakovich's legacy in their compositions written in his memory, including Denisov's DSCH, Weinberg's Symphony no.12, Tishchenko's Symphony no. 5, Schnittke's Prelude In Memoriam Dmitri Shostakovich and Third String Quartet, and Sil'vestrov's Postludium DSCH. In their memorial works, as they wrestled with the legacy of Shostakovich and his overwhelming influence, these composers also grappled with the shifting nature of the Soviet state, changing musical styles both foreign and domestic, and fundamental issues of aesthetic representation and identity associated with the move from modernism to postmodernism then affecting all composers in the Western art music tradition. The 1970s came at the heels of a decade of remarkable change in Soviet music and society, but at the time of Shostakovich's death, change in Soviet life began to seem increasingly unlikely. Despite recent interpretations by scholars such as anthropologist Alexei Yurchak that emphasize the fundamental immutability of the 1970s, however, these memorial compositions show that audible and significant developments were indeed occurring in the musical styles of the 1970s and early 1980s. Examining Shostakovich's legacy therefore also reveals the larger changes of the Soviet 1970s and early 1980s, both musical and otherwise.
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Sheinberg, Esti. "The Early Film Music of Dmitry Shostakovich. By Joan Titus . New York: Oxford University Press, 2016. xv, 253 pp. Notes. Bibliography. Index. Photographs. Figures. Tables. $50, hard bound." Slavic Review 76, no. 4 (2017): 1137–39. http://dx.doi.org/10.1017/slr.2017.332.

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Mazullo, Mark. "Dmitri Shostakovich, Pianist (review)." Notes 61, no. 3 (2005): 766–69. http://dx.doi.org/10.1353/not.2005.0025.

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Dissertations / Theses on the topic "Dmitry Shostakovich"

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Gerald, Ginther. "Revisionism in the music history of Dmitry Shostakovich: the Shostakovich Wars." Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/5342.

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The revisionist view of the Soviet Union’s most eminent composer, Shostakovich has been dominant in the American and British press ever since the publication of ex-Soviet journalist Solomon Volkov’s Testimony: The Memoirs of Dmitri Shostakovich as related and edited by Solomon Volkov in 1979. This pre-glasnost book proved to be the opportunity for music journalists to polish up their image of Shostakovich as a closet dissident who had been secretly laughing up his sleeve at the Soviet regime since 1932. This thesis suggests that Solomon Volkov faked the writing of Testimony and claiming that the book was the ‘memoirs of Dmitri Shostakovich’ was dubious at best. A favourite theme of revisionist writers is the perceived relationship between Shostakovich and Stalin. This thesis reveals that there was little interaction between the two despite the wild fantasies of revisionist writers and film makers. The infamous anonymous 1936 Pravda editorial ‘Muddle Instead of Music’ has been the subject of speculation ever since it was written. In the appendix of this thesis is a translation of ‘Mysteries of Lady Macbeth’ a chapter of Leonid Maksimenkov’s Muddle Instead of Music: Stalin’s Cultural Revolution 1936-1938. Archival evidence in this chapter reveals that the Pravda editorial was a product of internal Communist Party rivalry between the Cultural Education Board and the newly-formed Arts Committee. Stalin played no part in the writing of the editorial at all. This explodes many myths that have circulated since 1936 about ‘Muddle Instead of Music’. It seems that Shostakovich was a convenient target selected at random by the ambitious head of the Arts Committee – Platon Kerzhentsev.
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Grabowski, Gregory. "Shostakovich's Use of Satire in Anti-formalist Rayok with a Focus on the Music of the Character Dt Troikin." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699839/.

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In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to satirize the overly bureaucratized state of Soviet musical aesthetics. This leads to the conclusion that Shostakovich created a paradoxical work of art only posing as kitsch, and that he was not only satirizing the political figures presented in disguise but also the entire Soviet Socialist Realist aesthetic.
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Titus, Joan Marie. "Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164752307.

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Abdel-Aziz, Mahmud. "Form und Gehalt in den Violoncellowerken von Dmitri Schostakowitsch." Regensburg : G. Bosse, 1992. http://books.google.com/books?id=xxpBAAAAMAAJ.

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Poldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222727.

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Schon das erste Symposium ermöglichte, deutsche und russische Forscher zusammenrufen. Die "Schostakowitsch-Gesellschaft e.V." sowie die Symposiumreihe bildeten den Anfang eines internationalen Austauschs von Meinungen, Kenntnissen, wissenschaftlichen Ergebnissen und künstlerischen Praktiken.
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Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

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In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.
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Lee, Jung-Hwa. "Dmitri Shostkovich's [sic] Piano concerto op. 35 a pianist's performance guide /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227641553.

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Kan, Ling-Yu. "The Significance of Dmitri Shostakovich's Piano Sonata Op.12." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).
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Davis, Anna Megan. "A Russian eschatology : theological reflections on the music of Dmitri Shostakovich." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3528.

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Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act.
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Alexander, Justin. "The evolution of the xylophone through the symphonies of Dmitri Shostakovich." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625708.

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This treatise focuses on the evolution of the xylophone in the music of Dmitri Shostakovich. The xylophone occupied an important position in Shostakovich's aesthetic, evidenced in the exposed solos of the first Jazz Suite and the Polka from The Golden Age. In his symphonies, Shostakovich's use of the xylophone expands the role of the instrument from a demarcation or coloristic device to a vehicle of complex cultural and personal ideas ranging from the struggle of the Soviet people under Joseph Stalin, the composer's own hatred of war, and prominently, the multi-faceted idea of betrayal. This document presents a biographical overview of Shostakovich's life, an overview of the history of the xylophone from antiquity through the Twentieth Century, and an analysis of the use of the xylophone in Shostakovich's symphonies. Rhythmic and melodic motives, orchestrational effects, and pitch class relationships are examined in addition to specific score examples.

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Books on the topic "Dmitry Shostakovich"

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Shostakovich, Dmitriĭ Dmitrievich. Story of a friendship: The letters of Dmitry Shostakovich to Isaak Glikman, 1941-1975. Ithaca, N.Y: Cornell University Press, 2001.

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Shostakovich, Dmitriĭ Dmitrievich. Lady Macbeth of Mtsensk: Opera in four acts and nine scenes by Dmitry Shostakovich. London: English national Opera, 1987.

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Story of a friendship: The letters of Dmitry Shostakovich to Isaak Glikman, 1941-1975. London: Faber, 2001.

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Moshevich, Sofia. Dmitri Shostakovich, pianist. Montreal: McGill-Queen's University Press, 2004.

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Dmitriĭ Shostakovich: Puteshestvie. Moskva: Tekst, 2006.

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Malcolm, MacDonald. Dmitri Shostakovich: A complete catalogue. 2nd ed. London: Boosey & Hawkes, 1985.

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Malcolm, MacDonald. Dmitri Shostakovich, a complete catalogue. 2nd ed. London: Boosey and Hawkes Music Pub., 1985.

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Meskhishvili, Ė. Dmitriĭ Shostakovich: Notograficheskiĭ spravochnik. Moskva: Orekhovo-Zuevskai︠a︡ tipografii︠a︡, 1995.

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Shostakovich, Dmitriĭ Dmitrievich. Shostakovich's complete song texts: Russian texts of the complete songs of Dmitri Dmitrievich Shostakovich. Geneseo, N.Y: Leyerle Publications, 2007.

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Akhmatova, Anna Andreevna. Music: Dedicated to Dmitri Dmitrevich Shostakovich. Toronto: Aliquando Press, 1995.

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Book chapters on the topic "Dmitry Shostakovich"

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"SHOSTAKOVICH, DMITRY." In Music in the 20th Century (3 Vol Set), 574–75. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-428.

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Titus, Joan. "Introduction." In The Early Film Music of Dmitry Shostakovich, 1–14. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0001.

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Titus, Joan. "New Babylon (1928–1929) and Scoring for the Silent Film." In The Early Film Music of Dmitry Shostakovich, 15–41. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0002.

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Titus, Joan. "Alone (1929–1931) and the Beginnings of Sound Film." In The Early Film Music of Dmitry Shostakovich, 42–68. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0003.

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Titus, Joan. "Golden Mountains (1931) and the New Soviet Sound Film." In The Early Film Music of Dmitry Shostakovich, 69–98. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0004.

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Titus, Joan. "Counterplan (1932) and the Socialist Realist Film." In The Early Film Music of Dmitry Shostakovich, 99–130. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0005.

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Titus, Joan. "Youth of Maxim (1934–1935) and the Minimal Score." In The Early Film Music of Dmitry Shostakovich, 131–45. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0006.

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Titus, Joan. "Girlfriends (1935–1936) and the “Girls of the Future”." In The Early Film Music of Dmitry Shostakovich, 146–77. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0007.

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Titus, Joan. "Epilogue." In The Early Film Music of Dmitry Shostakovich, 178–94. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199315147.003.0008.

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"Dmitri Shostakovich." In Masterworks of 20th-Century Music, 363–96. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-26.

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