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Dissertations / Theses on the topic 'Dmitry Shostakovich'

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Published: 4 June 2021

Last updated: 9 February 2022

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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.
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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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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11

Lee, Tze Fung Alfred. "Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278786/.

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This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.

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12

Taam, Pedro Luiz Magalhães. "Dmitri Shostakovich e a Sétima Sinfonia: “Leningrado”: micropolítica e máquina de guerra." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21343.

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In the preset work, we discuss Dmitry Shostakovich’s Seventh Symphony, henceforth called the Seventh. The Seventh is and was object of political interpretations throughout all of its existence, but our research question is that all of past interpretations fail to acknowledge politics as having both a micro and macropolitical dimensions, the later having to do with party, identity and representational politics and the former with subjectivity and becomings. Historically, all of the Seventh’s reception was marked by identity and representation (“invasion theme”, “proregime”, “anti-communist”, revisionism and anti-revisionism), but the present dissertation is the first work which raises the hypothesis of the Seventh having a revolutionary power (potentia) in the micropolitical field. Since we are dealing with a political question within a musical work, our corpus is a combination of the musical text, Shostakovich’s repercussion in musicology post-1979 (the so-called Shostakovich Wars) and a theoretical framework composed by Suely Rolnik’s micropolitical theory (which unfolds in psychoanalisys, philosophy and semiotics) and Deleuze and Guattari’s philosophy. In A Thousand Plateaus, Deleuze and Guattari deal with two aspects of the State-form: the war machine and the State apparatus. These two aspects work as two poles: in the State apparatus pole there are the identity politics, the representation systems (both political and semiotic), and the signifying semiotics or semiologies. In the war machine pole there are the a-signifying semiotics, the micropolitics, the non-hegemonic ways of life (genres de vie) or non-hegemonic modes of existence, the revolutionary-becomings and all there is that is fresh and has not yet been captured by the State apparatus. By going through this theoretical path, always in dialogue with Shostakovich’s life and work, we arrive at the conclusion that, both in the aesthetic and musical qualities of the Seventh and in its micropolitical dimension, as well as the composer’s mode of being, we find the behavior of a war machine
O objeto do presente trabalho é a Sinfonia em Dó Maior Nº7 Op.60 de Dmitri Shostakovich, chamada doravante de Sétima. Nossa questão de pesquisa é que a Sétima foi alvo de interpretações políticas por toda a sua vida, no entanto, uma falha nessas abordagens: nenhuma delas entende a política como tendo uma dimensão macro e uma micro, aquela se referindo a partidos, representações e identidades e esta a subjetividades e devires. Historicamente, toda a sua recepção foi marcada por representações e identidades (“tema da invasão”, “pró-regime”, “anticomunista”, revisionistas e antirrevisionistas), mas este é o primeiro trabalho que levanta a hipótese da existência de uma potência revolucionária da Sétima no campo micropolítico. Trata-se de uma questão política dentro de uma obra musical. Para desenvolvê-la, temos como corpus o texto musical e a sua repercussão musicológica de Shostakovich pós-1979 (as chamadas “Shostakovich Wars”) e, como referenciais teóricos, a teoria micropolítica de Suely Rolnik (que se desdobra em psicanálise, filosofia e semiótica) e a filosofia de Gilles Deleuze e Félix Guattari. Em Mil Platôs, Deleuze e Guattari tratam de dois aspectos da forma-Estado: a máquina de guerra e o aparelho de estado. No pólo do aparelho de estado encontramos as políticas identitárias e os sistemas de representação, as semióticas significantes ou semiologias. No pólo da máquina de guerra encontram-se as semióticas assignificantes, as micropolíticas, os modos de existência ou de vida não-hegemônicos, os devires-revolucionários, aquilo que há de fresco e que ainda não foi capturado pelo aparelho do estado. Trilhando esse caminho teórico, sempre em diálogo com a obra e o autor, podemos arriscar nossas conclusões. A conclusão a que chegamos é que, tanto nas qualidades estéticas e musicais da Sétima quanto na dimensão micropolítica da obra e do modo de vida de Shostakovich, observa-se o comportamento de uma máquina de guerra

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13

Poldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 211-216, 1999. https://ul.qucosa.de/id/qucosa%3A15541.

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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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14

Tentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /." Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.

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15

Martínez, Aquino Selva Viviana. "Guias de execução na memorizaçãodo segundo movimento da Sonata nº 2 de Dmitri Shostakovich." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/77885.

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O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução.
The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.

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Noda, Luciana. "Uma análise retórica da Fuga Opus 87 nº 4 de Dimitri Shostakovich." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/5592.

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O presente trabalho investiga a retórica da Fuga opus 87 n° 4 de Dmitri Shostakovich. Para atingir tal objetivo, foram utilizados os trabalhos de Lester (1986, 2001), Harrison (1990) e Roberts (2004). Neste último, estão os princípios metodológicos utilizados para a realização desta pesquisa, os quais consistem, basicamente, no reconhecimento dos elementos identificadores [notable properties], termo utilizado por Roberts para denominar propriedades distintas de uma fuga. Roberts (2004) aplicou seu método para reconhecer a natureza, retórica ou literal de quatro fugas de Bach para órgão (BWV 533, 545, 547 e 578). Na fuga dupla n° 4, em Mi menor, de Shostakovich foram encontrados cinco elementos identificadores: graus da escala em suspensão, ambigüidade tonal/modal, relação entre Integrantes, presença do terceiro contra-sujeito para um dos sujeitos e seções paralelas intensificadas. No discurso, a presença e inter-relações mútuas dos elementos identificadores estabelecem conflitos, os quais são resolvidos revelando a natureza retórica da composição.

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17

Bender, J. Dennis. "Eternal problems, eternal themes: Suite on Words of Michelangelo Buonarotti, Op. 145 of Dmitri Shostakovich." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243356934.

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Lee, Jung-Hwa. "Dmitri Shostkovich's Piano Concerto Op. 35: A Pianist's Guide For Performance." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1227641553.

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Kroetsch, Terence R. "A baroque model in the twentieth century, the Preludes and fugues, opus 87 of Dmitri Shostakovich." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21045.pdf.

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20

Guthridge, Lauren Alescandra. "The Symphonies of Dmitri Shostakovich: A Discussion on How Socialist Realism Impacted the Composer and His Music." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243961.

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In the following discussion, the First and Fourth Symphonies of Dmitri Shostakovich will be analyzed with special focus on musical traits as they relate to Socialist Realism. Based respectively on the political climate in Soviet Russia during the 1920s and 1930s, the First and Fourth Symphonies have very different musical styles. Shostakovich’s compositional progression was impacted by the policies of Socialist Realism at the time he wrote his Fourth Symphony. In order to protect his integrity as a composer, Shostakovich’s Fourth Symphony was premiered 25 years after its completion, proving the immense influence of Stalin and the Communist ideals of Socialist Realism on his musical style.

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Granados, Juana. "Looking Beyond Shostakovich's Thirteenth Symphony." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1729.

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The objective of this thesis is to explain how Dmitrii Shostakovich used Yevgeny Yevtushenko's poetry to create the Thirteenth Symphony. This collaboration between two arts, poetry and music, reflects more than just separate ideas. The five movements of the symphony bring to public conscience the political opinions of Shostakovich regarding life in the Soviet Union.

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Watson, Jada. "Aspects of the "Jewish" folk idiom in Dmitri Shostakovich's String Quartet No 4, Op 83 (1949)." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27742.

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This thesis examines the context in which the Soviet composer Dmitri Dmitrievich Shostakovich turned to the "Jewish" folk idiom in his Fourth String Quartet, op. 83 (1949). The Fourth String Quartet falls into the second of three "Jewish" periods of composition, a period that aligns with the continual denunciation of Shostakovich as a "formalist" and "anti-People" composer, as well as with Stalin's anti-Semitic campaign. Because Shostakovich was not Jewish, these works have been read as either an attempt to rehabilitate himself following the Resolution on Music or as a method of identification with an oppressed minority. This thesis examines Shostakovich's professional and private life from 1948 to 1953. It outlines the rise of anti-Semitism in the Soviet Union during this same period and analyses elements of "Jewish" musical language in the Fourth String Quartet. Ultimately, this thesis discusses how Shostakovich both followed Party demands and found a personal response to persecution.

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Cassidy, Robert L. "A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343464.

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This dissertation contains a comparison from a historical and theoretical perspective of the passacaglia from the Piano Trio in E Minor, Op. 67, written by Dmitri Shostakovich (1906-1975), and the passacaglia from the Piano Trio in A Minor, written by Maurice Ravel (1875-1937).Before the history and theory discussion of these two movements begins, a background is given on the passacaglia form and its origins. References are made to the beginnings of the passacaglia in Italy and Spain, as well as the gradual evolution of the form into the keyboard music of the 17th century. Early published examples of passacaglias are displayed in chapter two.The third and fourth chapters of this dissertation are the focus of the comparison, where historical and theoretical information is discussed and deciphered. In the history section, details of the life of the composer during the time he wrote the piece are provided. The theory section contains a concentrated examination and comparison (enhanced by musical examples) of melody, harmony, rhythm, texture, and form, as used by Ravel and Shostakovich in these two passacaglias.It was concluded in this dissertation that both of these master composers used the passacaglia form successfully in their piano trios. As a result, they contributed musical masterpieces in the genre of the piano trio for musicians and scholars alike to investigate, study, and perform.
School of Music

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Walden, Joseph P. "Comparing Formal Analyses of Dmitri Shostakovich’s Symphony No. 5, Op. 47 Through the Theories of James Hepokoski, Warren Darcy, and William Caplin." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408556714.

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Cassell, Holly. "Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011793/.

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The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the West based on the values of individual freedom and feminism set forth in Lady Macbeth.

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Couch, Roy L. "Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky's The Rite of Spring, Dmitri Shostakovich's Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev's Symphony No. 5 in B flat major, Op. 100." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/couch%5Froy%5Flee/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).

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Smith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.

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Rong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.

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In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.

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Plutalov, Denis V. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. 87 an analysis and critical evaluation of the printed edition based on the composer's recorded performance /." 2010. http://proquest.umi.com/pqdweb?did=2023824631&sid=4&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010.
Title from title screen (site viewed July 8, 2010). PDF text: iv, 115 p. : music ; 5 Mb. UMI publication number: AAT 3398399. Includes bibliographical references. Also available in microfilm and microfiche formats.

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Shih, Kang-ting, and 施康婷. "A Performance Interpretation and Skill Technique of "Cello Concerto No.1, Op.107" by Dmitry Shostakovich." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/te2c2p.

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碩士
國立中山大學
音樂學系研究所
102
Dmitry Shostakovich is a Russian musician from the twentieth century. In 1959, he has been inspired by the other famous Russian composer, Sergey Prokofiev, for the serious same style of composition including “Cello Concerto No. 1, Op.107”. “Cello Concerto No. 1, Op.107”is one of the most well-known cello compositions in the cello repertoire. It was premiered by the well-known cellist, Mstislav Rostropovich, at the Large Hall of the Leningrad Conservatory. The report focuses on Shostakovich’s “Cello Concerto No. 1, Op.107”which briefly discusses about his life, his musical style and the analysis and interpretation of this composition. The discussion will be demonstrating on how Shostakovich used special techniques to write the cadenza from his cello concerto and will discusses on how to practice the difficult passages incorporated in the cadenza. By doing indepth research on Shostakovich’s “Cello Concerto No. 1, Op.107”from his musical style to the analysis and interpretation of the piece, as well as finding out the resolution to the challenging passages and technique when practicing； I hope it will strongly benefit future cellists who will be playing this particular piece.

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Ichmouratov, Airat. "Comparative Analysis of first scene of Prologue of Mussorgsky's "Boris Godunov" in orchestrations by Mussorgsky and Shostakovich, also presentation of my own compositions: “Youth” Overture and Viola concerto N2." Thèse, 2017. http://hdl.handle.net/1866/20811.

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Jang, Sinhae. "Three Transcriptios for Solo Organ: Sonata da chiesa Op. 3, No. 3, by Arcangelo Corelli, Overture to La forza del destino by Giuseppe Verdi, Festive Overture Op. 96, by Dmitry Shostakovich." Diss., 2011. http://hdl.handle.net/10392/3733.

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The purpose of this dissertation was to provide three transcriptions for solo organ along with a performance guide and commentaries for each of them. The original orchestral pieces, Sonata da chiesa Op. 3, No. 3 by Corelli, Overture to La forza del destino by Verdi, and Festive Overture Op. 96 by Shostakovich, were selected according to technical accessibility as well as artistic possibilities for the new performing medium. Each chapter, devoted to one transcription, is divided into three sections: (1) an introduction, containing a brief overview of the piece and the process of transcription with musical examples; (2) a performer's guide, including basic analysis, registration and manual suggestions, and tempo suggestions for each movement or section; and (3) the organ transcription score, providing suggested registration and manual changes, tempo and dynamics, and an indication of the composer's original orchestration and instrumentation. Four appendices are given. Appendix 1 presents the stop list of the Gheens Memorial Organ at Broadway Baptist Church in Louisville, Kentucky, on which all three transcriptions have been performed. Appendices 2, 3, and 4 are the registration lists used for the performance of these organ transcriptions.

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Klefstad, Terry Wait. "The reception in America of Dmitri Shostakovich, 1928-1946." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116358.

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Dudeck-Wiseman, Bianca Nicole. "Dmitri Shostakovich, Lady Macbeth, and the Soviet Government." 1998. http://digitalcommons.butler.edu/ugtheses/23/.

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Klefstad, Terry Wait 1971. "The reception in America of Dmitri Shostakovich, 1928-1946." 2003. http://hdl.handle.net/2152/12193.

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Chen, Yu-Chih, and 陳育志. "A Study of Two Piano Trios by Dmitri Shostakovich." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/19539402886658720168.

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碩士
國立中山大學
音樂學系研究所
91
In the vast output of Dmitri Dmitryevich Shostakovich, the chamber music hold a special place. These compositions, which the composer regarded them as ‘personal diary’ himself, reflected both aspects of the social situation and the words forbidden by the power. With the ‘Piano Trio No.1 in C Minor, op. 8’, we could trace back the traditions descended to Shostakovich during his early years. After stepping into his mature period, the interrelationship between structure perfection and motive development marked the ‘Piano Trio No.2 in E Minor, op. 67’ a unique masterpiece. This article had taken research into both works, with discussion of two recordings by the composer and variable score editions. Hope this would make the performer grasp a full conception of these works and transmit the acurate spirit while performing.

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Reichardt, Sarah Jane. "Composing the modern subject four string quartets by Dmitri Shostakovich /." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116142.

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Panebianco-Warrens, Clorinda Rosanna. "The woodwinds in the symphonies of Dmitri Shostakovich (1906-1975)." Thesis, 2001. http://hdl.handle.net/2263/24930.

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Heine, Erik James. "The film music of Dmitri Shostakovich in The gadfly, Hamlet, and King Lear." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1762/heinee14212.pdf.

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Fang, Lin Chu, and 林筑芳. "The Analysis and Interpretation of Dmitri Shostakovich Violin Concerto No. 1, Op. 77." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/06105968944609437155.

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Rong, Wei Hu, and 胡鎔薇. "An Analysis and Interpretation of Sonata for Viola and Piano Op.147 by Dmitri Shostakovich." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/89555943948847012914.

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碩士
臺北市立教育大學
音樂學系碩士班
100
Dmitri Shostakovich（1906 - 1975）is one of the most important composer for viola music. His interesting in music works across a wide range to challenge the instrument limit the pitch musical works and sound surprising contrast, specializes in manufacturing contrast to the atmosphere and rich harmonies tendency semitone. This project analyzes 〝Sonata for Viola and Piano Op.147〞which is Shostakovich's late work, and also his last work in his life. The third movement of this work was name work "death" and he also use lots of idea of death in his late work. By this research, the author hope to make player interpretation of his sonatas are more closer to the composer's soul and play a personal style.

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Yun-Chin, Hung, and 洪韻晴. "An Analysis and Interpretation of Sonata for Viola and Piano, Op. 147 by Dmitri Shostakovich." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/91190655768699907553.

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碩士
國立臺南藝術大學
音樂學系碩士班
104
Dimitri Shostakovich (1906-1975) was born in St. Petersburgs. He wrote his First Symphony (Symphony Op. 10, No. 1, 1925) at age 19 to sum up the period of his studies in the conservatory of St. Peterburgs. In addition, the great successful of this work also made him began his career as a composer. Shostakovich went through both World War I and II in his life, therefore political turmoil in Russia was deeply affected his compositions. Despite the fact that he almost stayed in Russia in his whole life, his reputation was spread to the world. Shostakovich was acclaim as one of the most important composer in the twenty century. Sonata for Viola and Piano, Op.147 (1975) is his ultimate work, just completed by a few weeks before his death. The fourth interval is the most significant material. This sonata has three movements. In the last movement, Shostakovich presented his homage to L. V. Beethoven (1770-1832) by using the famous rhythmic pattern from Beethoven's Moonlight (Piano Sonata No.14, Op.27 No.2, 1801).

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CHEN, PU-SHIN, and 陳普欣. "The Analysis and the Interpretation of Cello Sonata in D minor, Opus 40 by Dmitri Shostakovich." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6vpe88.

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碩士
國立高雄師範大學
音樂學系
105
Cello Sonata in D minor, Opus 40 (1934), written by Dmitri Shostakovich, is one of the most significant tracks for every cellist during the learning process. After enjoying a concert performed by Yo-Yo Ma, I have been deeply impressed by the track. In order to realize the background of the track and the exquisite elaboration of the emotion in Yo-Yo Ma’s performance, I select “The Analysis and the Interpretation of Cello Sonata in D minor, Opus 40 by Dmitri Shostakovich” as the subject of this study. Every masterpiece is usually hidden behind a touching story. The background of Dmitri Shostakovich’s Cello Sonata in D minor, Opus 40, occurred in Russia in 20th century. After the collapse of Russian Empire System (1721-1917), Russia was still in an unstable turmoil. The reform of regime, the invasion of war and the outbreak of revolution had been troubling Russia. Being in such an inferior environment, Dmitri Shostakovich’s works were suffered from the impact of social changes at the time. Also, Dmitri Shostakovich’s lifelong was as dramatic as film’s strong contrast. He had been awarded numerous national prizes and honors whereas his works, whose bold description contradicted social background, were condemned by the government, making his works once forbidden to perform. Dmitri Shostakovich’s Cello Sonata in D minor, Opus 40, was completed and debuted in 1934, and was the only piece for Cello Sonata written by Dmitri Shostakovich. Without difficult skills, however, the track set off the simple melody with intricate harmony and temporal modulation, as if moving forward alone and imposingly in an overwhelming oppression. Its unique sound effect is elaborating, twisting and leading, just like every scene of movie. Through personal analysis, I aim to interpret the phases and depths of the track thoroughly.

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Chen, Mei-Jan, and 陳美瑊. "A Research on Dmitri Shostakovich’s Suite on Verses of Michelangelo Buonarroti, op. 145." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/53520843876614173037.

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碩士
輔仁大學
音樂學系
102
This research discusses Dmitri Shostakovich's music style in Suite on Verses of Michelangelo Buonarroti, op. 145, and to see how he combined music and literature in his art songs. This thesis unfolds discussion from three parts. The first part of this report is to retrospect Dmitri Shostakovich’s whole life and the style of musical relations with Russian society. The Second part is of Michelangelo's visual arts and his life and the connections between his poetry and music. The final part is to analyze and to interprete the relationship between music and poetry and visual arts in Suite on Verses of Michelangelo Buonarroti. According to the results of my music analysis, we may see how Shostakovich conveyed his personal message in musical writing.

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Panebianco-Warrens, Clorinda Rosanna. "The use of the oboe and cor anglais in the fifteen symphonies of Dmitri Shostakovich (1906-1975)." Diss., 1994. http://hdl.handle.net/2263/24463.

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Please read the abstract in the section 00front of this document Please note that the text on pages 6-19 to 6-22 was removed, due to an error in the script
Dissertation (MMus)--University of Pretoria, 2009.
Music
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Wilson, Miranda Clare. "Shostakovich's Cello sonata : its genesis related to socialist realism." Thesis, 2005. http://hdl.handle.net/2152/1573.

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Chen, Wan-Chun, and 陳宛君. "The Interpretation of Dmitri Shostakovich's “Cello Sonata in d Minor, Op. 40” and “Moderato”." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/91058138565393700441.

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碩士
中國文化大學
音樂研究所
97
Dmitri Shostakovich is one of the greatest composers, the Russian son of the revolution in the 20th Century music. Many people think he is the great hero, who brings Russian music into a new era. Someone even said that he took politics into his music. He was actively involved in Russia's socialist movement, in the music refuses to budge on, as far as possible to try all kinds of music, boldly into the new wave of modernism. His works show many humorous and experimental character, and often used free and easy musical style to imply serious social issues. In Dmitri Shostakovich's life, he had not created many cello pieces. In terms of his cello works, this paper trys to discuss the techniques and possible interpretations of “Cello Sonata in d Minor, Op. 40” and “Moderato”. Each section will give an analysis on the life experiences, musical characteristics, political environment, and the creative integration of the background. Finding out Shostakovich's special creative tactics and motives of material arrangements, and exploring the correlation between the works. Allowing the performance annotation of the music and the skill to come in sync and support one another.

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Hung, Yu-Chun, and 洪于淳. "The Analysis and Interpretation of Dmitry Shostakovich's Cello Sonata Op.40: Bases on the Connection between Musical Language and Social Background." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/10136689048387702344.

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碩士
輔仁大學
音樂研究所
94
This dissertation is going to discuss how Dmitry Shostakovich’s work involved in the social and political environment during Stalin’s period. From this point of view, his cello sonata op.40 would be a suitable example to discover how music language connected with the composer’s other corresponding works. To analyze Shostakovich’s musical language, folk material is divided into Russian and Jewish folk material. However, different source of folk music presents totally diverse political meaning in the 1930s-1950s. On the other hand, DSCH motif and twelve-tone technique plays a role of how European traditional composition techniques imply into this Russian composer’s hand. Cello sonata op.40 has its own position of Shostakovich’s works because of the issue of timing. Because of the Great Purge, the sonata from he used in this work established a symbol in the 1930s. Also the cello sonata was the only work not criticized in the public. According all the reasons, the cello sonata raised its supreme position of Shostakovich’s compositions.

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"Three cycles of 24 preludes and fugues by Russian composers : D. Shostakovich, R. Shchedrin and S. Slonimsky." Thesis, 2003. http://hdl.handle.net/2152/12924.

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Macháček, Jakub. "Život a dílo Dmitrije Šostakoviče se zaměřením na Houslový koncert č. 1 op. 77 a Smyčcový kvartet č. 8 op. 110." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-368016.

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This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.

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