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Relevant bibliographies by topics / Dmitry Shostakovich

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Dissertations / Theses

Academic literature on the topic 'Dmitry Shostakovich'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Dissertations / Theses on the topic "Dmitry Shostakovich"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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.<br>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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9

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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10

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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<p> 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 <i>Jazz Suite </i> and the <i>Polka from The Golden Age.</i> 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.</p>

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