Journal articles: 'Dmitry Shostakovich'

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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 text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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

Full text

Abstract:

(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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Graeme, R. "Moskva, Cheremushki. Dmitri Shostakovich." Opera Quarterly 15, no. 4 (January 1, 1999): 788–89. http://dx.doi.org/10.1093/oq/15.4.788.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Jellinek, G. "Two by Dmitri Shostakovich." Opera Quarterly 16, no. 4 (January 1, 2000): 680–82. http://dx.doi.org/10.1093/oq/16.4.680.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Huband, J. Daniel. "Shostakovich's Fifth Symphony: A Soviet Artist's Reply…?" Tempo, no. 173 (June 1990): 11–16. http://dx.doi.org/10.1017/s0040298200019070.

Full text

Abstract:

The attempt to relate a nonmusical event to a musical phenomenon creates problems for the musicologist. Compelled to search beyond the mere notes on the printed page, one may try to gain more penetrating insights into a particular work by scrutinizing historical circumstances concurrent with the genesis of the music. In the case of Dmitri Shostakovich's Fifth Symphony, the social and political background to this piece has been greatly emphasized. Yet could the efforts to relate the composer's compositional style to his troubles with the Soviet regime obscure musical issues? The Fifth Symphony, frequently viewed by many music historians as an apologetic musical response to the Pravda attack on the opera Lady Macbeth of the Mtsensk District, does not present as drastic a change in musical style as is commonly believed. An analysis of the four earlier symphonies reveals that they function importantly in the composer's evolution as a symphonist; Shostakovich refines several compositional techniques employed in these works and incorporates them in the Fifth Symphony, his first fully mature piece. The most salient features of the composer's early works that most clearly relate to his development as a symphonist shall be discussed in this essay. This process aims to reassess the hypothesis which suggests Shostakovich suddenly mended his ways in light of official criticism.

APA, Harvard, Vancouver, ISO, and other styles

14

Fairclough, Pauline, and John Riley. "Dmitri Shostakovich: A Life in Film." Modern Language Review 102, no. 1 (January 1, 2007): 303. http://dx.doi.org/10.2307/20467273.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich." ICONI, no. 1 (2020): 95–107. http://dx.doi.org/10.33779/2658-4824.2020.1.095-107.

Full text

Abstract:

This lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a maximally compact form the evolution of the music of the great composer, the main stages of which are corresponded to by the respective sections of the present text: “Early Works,” “Middle Period” and “Late Works,” which is supplemented by generalizations contained in the sections “The Issue of Humanism” and “The Artistic Constants.” The expounding of the lecture will be accompanied by listening to a number of fragments designed to give an overall impression of the range of the composer’s artistic quests.

APA, Harvard, Vancouver, ISO, and other styles

16

Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich." ICONI, no. 2 (2020): 50–59. http://dx.doi.org/10.33779/2658-4824.2020.2.050-059.

Full text

Abstract:

The first part of this lecture, dedicated to the evolution of the composer’s creative development (early music, the middle period, the late music) was published in the first issue of the journal “ICONI” for this year. The conclusive part of the lecture, published in this issue, is focused on the determining philosophical “through” thoroughfares of Shostakovich’s legacy (the issues of humanism and artistic constants).

APA, Harvard, Vancouver, ISO, and other styles

17

Shchetynsky, O. S. "Original and borrowed: correlation of the author’s and referred elements in modern musical work." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 122–31. http://dx.doi.org/10.34064/khnum2-14.09.

Full text

Abstract:

The phrase “author’s speech” the most frequently uses in musicological texts without exact definition but rather as a metaphor. However, its senses are not clear enough. The correlation of original and “borrowed” elements in music work also needs clarification. The objective of this article is to analyze the role of the author’s and borrowed elements, as well as their impact on artistic value of musical work on the examples of creativity by the composers of the XX century. Some examples of the “author’s speech” do not show any problem, as we clearly feel, when exactly the author suggests his/her personal commentary to the “events” that were depicted before. Among these are the sorrow solos of wind instruments in the symphonies by Dmitry Shostakovich, which he usually introduced after tragic culminations or the D minor orchestral interlude before the last episode of “Wozzeck” by Alban Berg. The author himself characterizes this interlude as the “author’s speech” directed to the audience, which represents the humankind. However, episodes of similar character (author’s “direct speech”) are not obligatory in music. Huge number of works by Shostakovich, Berg and other authors does not include them. Certainly, this does not mean they lack the “author’s speech”. While identifying this element in the piece, it is important to reject the stereotype to bind it with slow music of certain character (meditative, melancholic, sorrow, festive, solemn, etc.). In the same time, although such connotations sometimes are working, the faster episodes of another nature, with thematic contrasts and intensive development, should not be associated only with dramatic quasi-theatrical action. The author cannot avoid various emotions (doubt, trouble, uncertainty, protest, searching for a decision, multivalency of reaction, and many others), which definitely will be reflected in his/her piece and will producing a music of very different kinds. If we consider the music work in technical aspects, we find the combination of individual and “borrowed” elements at all levels of the compositional structure. So, we may conclude the author’s individuality manifests itself everywhere, and the meditative episodes do not enjoy any priority in comparison to episodes of another figurative character and type of movement. “Suite in the old style” for violin and piano (harpsichord) by Alfred Schnittke is a good example of such practice. In his dialogues with Dmitry Shulgin Schnittke characterizes this work as total stylization, except several tiny details. Nevertheless, the analysis of the piece reveals the more serious personal contribution. In addition to found by the researcher Olena Vashchenko harmonic and melodic elements that have their origin rather in the 20th century, the present article shows similar content in formal structure of the Suite and in part-writing of its polyphonic movements. Individual style reveals also in Schnittke’s choice of certain elements of “old styles” and their combination with the 20th century musical writing. Why Schnittke ignored his real stylistic contribution and qualified his Suite lower than it deserved? The author of the article finds an explanation in the composer’s work of the late 1960s and early 1970s, when the Suite was composed. In those years, the main Schnittke’s phenomenon – poly-stylistic writing – was coined in such wide-scaled works as the First Symphony, Piano Quintet, Requiem and others. Being occupied by these works that indicate his personality much stronger, Schnittke mentions just that feature of Suite, which stayed in his conscious as dominant, exactly stylization, so the explanation may be found in psychological field. Totally stylized piece would never become so popular and beloved both by the performers and the public as the Suite does. There is no reason to play and listen to pure stylization, when it is possible to have dealing with an original work. A listener and a performer are attracted by the combination of the original and stylized elements in the Suite, their interaction and flexible transition of one into other. This may be called as “modernized antiquity”. Due to this feature, the piece stays one of the most popular and wellknown works of the composer. Conclusion. The importance of the original and “borrowed” elements does not depend directly on the quantity of these elements and even on the ratio between them. The author’s individuality may show itself in various aspects in the context of the dominating stylization. The creative power of the author depends, first of all, on the strength of the author’s personality and his/her ability to adapt somebody else’s achievements to his/her own tasks, to fill them with new content and to create a new context for them. In case of a positive answers to these challenges the author gets the ability to utilize somebody else’s idiom similar to his/her own, and a listener, a performer and a researcher get a reason to refresh in memory the poetic prophesy by Osip Mandelstam: “… and will again the skald create somebody else’s song, and he will utter her as if it will his own”.

APA, Harvard, Vancouver, ISO, and other styles

18

Fay, Laurel E., and Derek C. Hulme. "Dmitri Shostakovich: A Catalogue, Bibliography, and Discography." Notes 49, no. 2 (December 1992): 585. http://dx.doi.org/10.2307/897925.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Mula Pérez, Ana María. "Referencias hispanas en obras de Shostakovich de la década de los años 50." Cuadernos de Investigación Musical, no. 3 (April 28, 2018): 20–49. http://dx.doi.org/10.18239/invesmusic.v0i3.1697.

Full text

Abstract:

A pesar del interés biográfico y compositivo del autor soviético Dmitri Shostakovich, el presente artículo se centrará exclusivamente en algunas de las obras del compositor que presentan ciertas referencias hispanas. A lo largo de toda su carrera Shostakovich incluyó en varias de sus creaciones elementos musicales que podrían vincularse con la sonoridad prototípica de España. Sin embargo, en este trabajo llevaremos a cabo una investigación sobre aquéllas pertenecientes a la década de los años cincuenta, muy relevantes desde el prisma político por coincidir con el fallecimiento de Joseph Stalin.

APA, Harvard, Vancouver, ISO, and other styles

20

MORRISON, SIMON. "What Next? Shostakovich's Sixth Symphony as Sequel and Prequel." Twentieth-Century Music 16, no. 2 (April 30, 2019): 231–57. http://dx.doi.org/10.1017/s1478572218000130.

Full text

Abstract:

AbstractFor Dmitri Shostakovich, reaching the heights of the Soviet musical establishment proved easier than staying there. He triumphed with his Fifth Symphony of 1937, which marked the composer's return to official favour after the denunciation of his second opera and third ballet. Following that success, Shostakovich faced the problem of the sequel: whether or not, in the Sixth Symphony, to repeat, refute, or re-inscribe. I propose Shostakovich first thought about going big with his new project, composing a grand text-based score about Lenin, and then considered going small, grounding the first movement in folk fare and mixing light genres in the others. But in the end, he chose a more experimental approach. The Sixth Symphony collapses boundaries, both semantic and syntactic, pulling them back from a fixed state into a play of possibilities.

APA, Harvard, Vancouver, ISO, and other styles

21

Fay, Laurel E. "Dmitri Shostakovich: A Catalogue, Bibliography, and Discography (review)." Notes 60, no. 1 (2003): 178–80. http://dx.doi.org/10.1353/not.2003.0098.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

MacDonald, Calum. "The Anti-Formalist ‘Rayok’ – Learners Start Here!" Tempo, no. 173 (June 1990): 23–30. http://dx.doi.org/10.1017/s0040298200019094.

Full text

Abstract:

Much of what follows concerns itself with issues which are inevitably (and properly) extra-musical. But the musical significance of the recently-exhumed and now partially recorded ork by Dmitri Shostakovich which seems to be called (or thought of as) Antiformalisticheski Rayok is worth stressing at the outset. This little cantata ‘for reader, four basses, mixed chorus and piano accompaniment’ could hardly be claimed as one of the Soviet master's major utterances: it is, rather, a particularly bitter and subversive satirical squib – much of its fascination stems from the explicitness and political discomfort of the attack, and the identity of its targets. On the other hand, it is a not unimportant contribution to a specifically Russian tradition of musical satire: it can be seen to be taking its place in – and rendering more intelligible – the development of Shostakovich's personal commitment to that tradition, as he moved from the zany and anarchic grotesquerie of his early film, ballet and theatre scores to the oblique but devastating critique of officialdom and philistinism that underlies such enigmatic pieces as the Preface to the Complete Edition of My Works, op. 123 and his very last song-cycle, the Verses of Captain Lebyadkin, op. 146. Rayok belongs in their company, but is neither oblique nor enigmatic: it represents, in an extreme vitriolic form, an aspect of Shostakovich's musical humour that could only express itself publicly through a protective mask of irony. The vitriol is here undiluted, because Rayok was written with no thought of publication: was indeed unpublishable at the time, and in the political conditions, under which it was conceived.

APA, Harvard, Vancouver, ISO, and other styles

23

Heine, E. "Dmitri Shostakovich: A Life in Film. By John Riley." Music and Letters 88, no. 4 (September 17, 2007): 695–97. http://dx.doi.org/10.1093/ml/gcm019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Tarasov, Sergei V. "The Trajectory of Dmitri Shostakovich’s Vocal Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 5, 2016): 72–78. http://dx.doi.org/10.17674/1997-0854.2016.4.072-078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Fanning, David. "Review: Dmitri Schostakowitsch und das jüdische musikalische Erbe/Dmitri Shostakovich and the Jewish Heritage in Music." Music and Letters 84, no. 1 (February 1, 2003): 136–38. http://dx.doi.org/10.1093/ml/84.1.136-b.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

BOSTAN, Maria-Cristina. "Dmitri Shostakovich – Concerto no.2 for cello and orchestra op.126." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 61–70. http://dx.doi.org/10.31926/but.pa.2019.12.61.29.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Ng, Michael H. M. "Is Julian Barnes Reliable in Narrating the Noise of Time?" English Language and Literature Studies 9, no. 1 (January 28, 2019): 114. http://dx.doi.org/10.5539/ells.v9n1p114.

Full text

Abstract:

Wayne C. Booth says that a novelist creates an implied author that is an ideal, literary, and created version of the real author. Seymour Chatman has emphasized the implied author is a principle that invents the narrator who has the direct means of communicating. Chatman says it is important distinguish among narrator, implied author, and real author. Booth originally says that unreliable narrators vary on how far and in what direction they depart from the author’s norms. The concept of Booth’s term ‘unreliable narrator’ has been a subject to debate. In Ansgar Nunning’s perspective, the reader has a role in detecting narrational unreliability. There are four forms of unreliable narration: intranarrational unreliability, internarrational unreliability, intertextual unreliability, and extratextual unreliability. Julian Barnes’ novel The Noise of Time is a fictional biography of a real Russian composer named Dmitri Shostakovich whose work of art flourishes even under the oppression of the Soviet government. According to a review in The Guardian, the novel is mainly on Shostakovich’s battle with his conscience when living under the rule of Joseph Stalin. It is possible that the real author, implied author, and narrator are the same person in Barnes’ case. The objective of this article is to examine whether Barnes is reliable in telling the story of Shostakovich or not.

APA, Harvard, Vancouver, ISO, and other styles

28

Weiner, Brien. "Dmitri Shostakovich Catalogue: The First Hundred Years and Beyondby Derek C. Hulme." Music Reference Services Quarterly 13, no. 1-2 (May 28, 2010): 55–56. http://dx.doi.org/10.1080/10588167.2010.494575.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Davis, Anna. "Musical Icons: A Theological Reflection on Dmitri Shostakovich’s “Leningrad” Symphony." Religion and the Arts 18, no. 4 (2014): 521–42. http://dx.doi.org/10.1163/15685292-01804003.

Full text

Abstract:

This article provides a theological reflection on Shostakovich’s Seventh, or “Leningrad,” Symphony. Investigating the historical context and composer intentions that lie behind the work, together with the now famous story of its premier, performed by starving musicians in the besieged city of Leningrad, the article asks how this secular piece of music might be understood from a perspective of theology. Drawing upon the Russian Orthodox theology mediated by the novels of another Russian artist, Fyodor Dostoevsky, it argues that the symphony takes on the qualities of an icon to embody a kenotic emptying that signifies both suffering and transformation. In so doing, the article aims to further theological engagement with music by pushing the question of how we might think theologically about “secular” music, and also by exploring how we might relate to music’s expressivity and meaning—that is to say, its value as part of human life—within a theological framework.

APA, Harvard, Vancouver, ISO, and other styles

30

Fanning, D. "Composing the Modern Subject: Four String Quartets by Dmitri Shostakovich. By Sarah Reichardt." Music and Letters 91, no. 2 (April 26, 2010): 274–75. http://dx.doi.org/10.1093/ml/gcp094.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.

Full text

Abstract:

“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.

APA, Harvard, Vancouver, ISO, and other styles

32

Clark, Katerina. "Shostakovich's Turn to the String Quartet and the Debates about Socialist Realism in Music." Slavic Review 72, no. 3 (2013): 573–89. http://dx.doi.org/10.5612/slavicreview.72.3.0573.

Full text

Abstract:

As Katerina Clark argues here, Dmitrii Shostakovich's turn to the quartet form in 1938 and his account of his First Quartet should be seen in the context of ongoing debates from that time about how the mandate for socialist realism might apply in music, a problematical question since music is the least representational of the arts. In making this point, Clark does not analyze the quartets themselves, but instead probes Shostakovich's statements about them, moving out from that narrow focus to place his remarks in the context of overall developments and controversies in Soviet culture of that decade—more specifically in the context of efforts aimed at liberalizing socialist realist practice.

APA, Harvard, Vancouver, ISO, and other styles

33

Mitchell, Brenda S. "Testimony: The Memoirs of Dmitri Shostakovich as Related to and Edited by Solomon Volkov." Music Educators Journal 91, no. 5 (May 2005): 27–28. http://dx.doi.org/10.2307/3400136.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Corrêa, João Francisco de Souza. "Quarteto de Cordas nº 3 de Alfred Schnittke." Per Musi, no. 40 (June 15, 2021): 1–22. http://dx.doi.org/10.35699/2317-6377.2020.20068.

Full text

Abstract:

Este estudo é uma análise do processo composicional intertextual de Alfred Schnittke no seu Quarteto de Cordas nº 3 (1983). O objetivo da análise é compreender como Schnittke abstrai elementos musicais de obras de outros compositores (“textos”) para reutilizá-los em seu Quarteto, especificamente o tema da Grande Fuga op. 133 de Beethoven, um motivo do Stabat Mater de Orlando Di Lasso e o monograma DSCH de Dmitri Shostakovich. Para tanto, este estudo discorre sobre: o uso de citações e alusões segundo Schnittke; a gênese e a estrutura do Quarteto de cordas nº 3; e a forma como os textos apropriados por Schnittke são resignificados em sua obra. A análise demonstrou que Schnittke realiza diversas transformações nos textos abstraídos para adaptá-los ao contexto sonoro e estrutural do Quarteto de cordas nº 3.

APA, Harvard, Vancouver, ISO, and other styles

35

Demchenko, Alexander I. "The Musical Oeuvres of Aram Khachaturian." ICONI, no. 3 (2020): 122–36. http://dx.doi.org/10.33779/2658-4824.2020.3.122-136.

Full text

Abstract:

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky and Dmitri Shostakovich. This series is continued with a lecture about Aram Khachaturian’s music. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (the trajectory of the artistic path, “The Feast of Music”) examines the foundational principles of the composer’s bright individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the mid-20th century. During the exposition of the lecture fragments of his musical compositions will be offered for analysis, in their sum giving a perspective of the most substantial aspects of Khachaturian’s musical legacy.

APA, Harvard, Vancouver, ISO, and other styles

36

Demchenko, Alexander I. "The Musical Oeuvres of Rodion Shchedrin." ICONI, no. 1 (2021): 148–59. http://dx.doi.org/10.33779/2658-4824.2021.1.148-159.

Full text

Abstract:

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.

APA, Harvard, Vancouver, ISO, and other styles

37

Bellmunt-Serrano, Manel. "Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation." Sederi, no. 29 (2019): 11–33. http://dx.doi.org/10.34136/sederi.2019.1.

Full text

Abstract:

This article tries to provide a thorough analysis of Nikolai Leskov’s rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov’s work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich’s homonymous opera and William Oldroyd’s filmic version, Lady Macbeth. Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.

APA, Harvard, Vancouver, ISO, and other styles

38

Fairclough, Pauline. "Brothers in musical arms: the wartime correspondence of Dmitrii Shostakovich and Henry Wood." Russian Journal of Communication 8, no. 3 (August 11, 2016): 273–87. http://dx.doi.org/10.1080/19409419.2016.1213219.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Milovidova, N. S. "THE "HOLY TIES OF COMRADESHIP" IN THE DESTINY AND POETICS OF DMITRII SHOSTAKOVICH." Sphere of Culture, no. 2 (2020): 124–31. http://dx.doi.org/10.48164/2713-301x_2020_2_124.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Demchenko, Alexander I. "The Musical Oeuvres of Georgy Sviridov." ICONI, no. 4 (2020): 153–70. http://dx.doi.org/10.33779/2658-4824.2020.4.153-170.

Full text

Abstract:

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich and Aram Khachaturian. This series is continued with a lecture about the music of Georgy Sviridov. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (The Musical Oeuvres of Sviridov in the Mid-20th Century, The Musical Oeuvres of Sviridov in the 1960s and 1970s, the Late Oeuvres of Sviridov) examines the foundational principles of the composer’s vivid individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the middle and second half of the 20th century. During the exposition of the lecture fragments of his musical compositions are presented for analysis in performances recommended by the author, in their sum, providing a perspective of the most substantial aspects of Sviridov’s musical legacy.

APA, Harvard, Vancouver, ISO, and other styles

41

Nowok-Zych, Agnieszka. "Mieczysław Wajnberg a kategoria pogranicza." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 41–53. http://dx.doi.org/10.4467/23537094kmmuj.20.011.12853.

Full text

Abstract:

Mieczysław Wajnberg and the Category of Borderland Polish musicologist and author Danuta Gwizdalanka, titled her publication Mieczysław Wajnberg: Composer from Three Worlds (Poznań, 2013). Wajnberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in USSR. Without any doubt, Wajnberg can be named “the composer from the borderland” due to his “hybrid identity”, which was one of the most important reasons preventing appreciation of Wajnberg’s creative activity both during life and after death. The main ideas of the paper are focused on the “category of borderland” and its representation in Wajnberg’s biography and output. According to the typology proposed by Krzysztof Zajas, Wajnberg’s live and works can be considered in the frame of following types of borderland: interdisciplinary, spatial, psychological, existential, sociological and mythological. Through the prism of “borderland’s category”, Wajnberg’s creative activity shows itself as a very individual and invaluable testimony of his times (far away from eclectic and epigonic in relation to music of Dmitri Shostakovich), unique on the scale of world music literature.

APA, Harvard, Vancouver, ISO, and other styles

42

Nowok-Zych, Agnieszka. "Mieczysław Weinberg and the Category of Borderland." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 39–50. http://dx.doi.org/10.4467/23537094kmmuj.20.036.13909.

Full text

Abstract:

Polish musicologist and author Danuta Gwizdalanka titled her publication Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Weinberg: Composer from Three Worlds] (Poznań, 2013). Weinberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in the USSR. Without any doubt, he can be called ‘a composer from the borderland’ due to his ‘hybrid identity’, which was one of the most important reasons that affected the appreciation of Weinberg’s output both during his lifetime and after death. The main ideas of this paper centre on the category of ‘borderland’ and its representations in Weinberg’s biography and oeuvre. According to the typology proposed by Krzysztof Zajas, Weinberg’s life and works can be considered in terms of the following types of borderland: interdisciplinary, spatial, psychological, existential, sociological, and mythological. Through the prism of the category of ‘borderland’, Weinberg’s creative work manifests itself as a highly individual and invaluable testimony of his times, Far from eclectic and epigonic in relation to the music of Dmitri Shostakovich, his oeuvre is unique in the world’s music literature.

APA, Harvard, Vancouver, ISO, and other styles

43

Demchenko, Alexander I. "The Musical Oeuvres of Alfred G. Schnittke." ICONI, no. 2 (2021): 112–30. http://dx.doi.org/10.33779/2658-4824.2021.2.112-130.

Full text

Abstract:

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgy Sviridov, and Rodion Shchedrin. This series is being continued with a lecture about the music of Alfred G. Schnittke. The fi rst part of the lecture (“National ‘Fermentations’ and Early Works”) examines the questions of the genesis of the composer’s personality and the initial stage of his artistic formation with a drastic reorientation from a traditional style to avant-garde experiment. The second part (“The Middle Period”) is devoted to Schnittke’s explorations in the direction of contacts with wide audiences, which went along various lines of democratization of his artistic approach. The conclusive part (“The Late Style”) is directed towards the composer’s immense contribution to the formation of the stylistic realities of the Postmodern aesthetics. During the course of the lecture’s exposition fragments of musical compositions are offered with recommended performances of them, in their sum providing a perception of the most substantial sides of Alfred G. Schnittke’s musical output.

APA, Harvard, Vancouver, ISO, and other styles

44

Bush, Elizabeth. "Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad by M. T Anderson." Bulletin of the Center for Children's Books 69, no. 2 (2015): 75. http://dx.doi.org/10.1353/bcc.2015.0732.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Anderson, M. T. "The Flight of the Seventh: The Voyage of Dmitri Shostakovich’s “Leningrad” Symphony to the West." Musical Quarterly 102, no. 2-3 (2019): 200–255. http://dx.doi.org/10.1093/musqtl/gdz014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (July 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.

Full text

Abstract:

The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in the development of an identifiably Soviet ballet style. Taken on tour abroad by the Bolshoi Ballet in a revised version, Spartacus also became one of the most internationally successful ballets written by a Soviet composer, although it never came close to equaling the international recognition eventually achieved by Prokofiev's Soviet ballets Romeo and Juliet or Cinderella. Gayane was not widely staged outside the USSR, but some of the music from the ballet, arranged into three orchestral suites by the composer, became very popular internationally—particularly the “Sabre Dance,” which became the single most recognized piece of Khachaturian, recycled repeatedly in Hollywood film scores.

APA, Harvard, Vancouver, ISO, and other styles

47

Giraud, Mathieu, Richard Groult, Emmanuel Leguy, and Florence Levé. "Computational Fugue Analysis." Computer Music Journal 39, no. 2 (June 2015): 77–96. http://dx.doi.org/10.1162/comj_a_00300.

Full text

Abstract:

One of the pinnacles of form in classical Western music, the fugue is often used in the teaching of music analysis and composition. Fugues alternate between instances of a subject and other patterns and modulatory sections, called episodes. Musicological analyses are generally built on these patterns and sections. We have developed several algorithms to perform an automated analysis of a fugue, starting from a score in which all the voices are separated. By focusing on the diatonic similarities between pitch intervals, we detect subjects and countersubjects, as well as partial harmonic sequences inside the episodes. We also implemented tools to detect subject scale degrees, cadences, and pedals, as well as a method for segmenting the fugue into exposition and episodic parts. Our algorithms were tested on a corpus of 36 fugues by J. S. Bach and Dmitri Shostakovich. We provide formalized ground-truth data on this corpus as well as a dynamic visualization of the ground truth and of our computed results. The complete system showed acceptable or good results for about one half of the fugues tested, enabling us to depict their design.

APA, Harvard, Vancouver, ISO, and other styles

48

Абдоков, Ю. Б. "Eduard Serov as Interpreter of Boris Tchaikovsky’s First Symphony: On the Problem of Style Authenticity." OPERA MUSICOLOGICA, no. 4 (November 15, 2020): 19–40. http://dx.doi.org/10.26156/om.2020.12.4.002.

Full text

Abstract:

В статье впервые в отечественном искусствознании рассматривается феномен творческого взаимодействия одного из крупнейших оркестровых композиторов ХХ столетия Бориса Александровича Чайковского (1925–1996) и выдающегося российского дирижера, профессора Санкт-Петербургской консерватории Эдуарда Афанасьевича Серова (1937–2016). Основным предметом анализа является интерпретация, запечатленная в премьерной студийной записи Первой симфонии Б. Чайковского, осуществленной Серовым в июне 2006 года. Масштабный оркестровый опус, сочиненный Б. Чайковским, когда он был студентом в консерваторском классе Д. Д. Шостаковича, никогда прежде не исследовался в российском музыкознании. Тембровая поэтика и архитектоника самой ранней циклической партитуры Б. Чайковского осмыслены в контексте изучения авторского оркестрового стиля и его слагаемых, включая те, которые обозначены самим композитором («тембровая оптика», «перспективные планы», «атмосферная среда» и т. д.). Принципиально важным в оценке дирижерской трактовки Серова является анализ стилевой адекватности, проявляющейся в исполнительской расшифровке того, что Б. Чайковский, анализируя музыку других авторов, называл «темброво-поэтическим кодом» оркестровой партитуры. В статье впервые публикуется уникальный эпистолярный документ — послание Шостаковича своему ученику (после показа симфонии на композиторской кафедре Московской консерватории); также приводятся суждения самого Б. Чайковского, в которых он оценивает профессиональные качества Серова-дирижера и делится личными представлениями о стилевом аутентизме в дирижерском и шире — исполнительском искусстве. The article represents the first attempt in the Russian art criticism to deal with the phenomenon of creative interaction between one of the greatest orchestral composers of the twentieth century — Boris A. Tchaikovsky (1925–1996) and an outstanding Russian conductor — professor of Saint Petersburg Conservatoire Eduard A. Serov (1937–2016). The main subject of the analysis is the interpretation of B. Tchaikovsky’s First Symphony performed by Serov in June 2006, provided in the premiere studio record. This large-scale orchestral opus composed by B. Tchaikovsky while being a student in the Conservatory class of Dmitri D. Shostakovich has never been studied in Russian musicology before. Timbre poetics and architectonics of the earliest cyclic score by B. Tchaikovsky are conceptualized in the context of the author’s orchestral style and its components, including those designated by the composer himself (“timbre optics”, “perspective plans”, “atmospheric environment”, etc.). The analysis of stylistic adequacy, which B. Tchaikovsky called the “timbral-poetic code”, is fundamentally important in the conductor’s interpretation of the score by Serov. B. Tchaikovsky himself used this term while analyzing the music of other authors. This article is the first to publish a unique epistolary document — Shostakovich’s letter to his pupil (written after the performance of the Symphony at the Moscow Conservatory’s composition department), as well as the previously unpublished judgements of B. Tchaikovsky himself concerning Serov’s professional qualities as a conductor, and style authenticity in conducting and — more widely — in the performance practice.

APA, Harvard, Vancouver, ISO, and other styles

49

Bonde, Anders. "Multimodal emergens via musik - Eksemplificeret ved en reklamefilm og en dokumentarfilm [Emergent forms of meaning-making using music in multimodal compositions - Exemplified through a television commercial and a television documentary]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 20. http://dx.doi.org/10.7146/mediekultur.v26i48.2121.

Full text

Abstract:

In this article I will demonstrate an analytic-hermeneutic approach regarding multimodal semiosis in audio-visual media products, such as television commercials and documentaries in which several modalities or semiotic resources co-operate and interact. As a theoretical framework I will exploit the concept of emergence. Although usually associated with philosophy, systems theory and the sciences, this concept can prove instructive in evaluating intermodal correlation in perceptive-aesthetic phenomena as well, seeing that multimodal semiosis is not merely a summation of images plus words plus music. Taking as a point of departure the expressive and semantic potential of music as one component in a coherent multimodal whole, I will discuss a number of profound contributions to the field of music’s semiotic potential in multimedia in relation to a comprehensive analytical framework, which take into consideration the established criteria for emergence. I shall illustrate my approach by analysing a television commercial for “SkandiaBanken”, named Killarna (“The Guys”), and two scenes from a Danish documentary, Fogh bag facaden (“Fogh behind the façade”). All three audio-visual clips include the same musical composition (“Waltz No. 2” by Dmitri Shostakovich), but compared to each other, the music takes on different roles and positions against the other modalities/resources, and consequently, different types of meaning emergence are shaped.

APA, Harvard, Vancouver, ISO, and other styles

50

Demchenko, Alexander I. "The Semantics of Revolutionary Imagery." ICONI, no. 1 (2019): 102–15. http://dx.doi.org/10.33779/2658-4824.2019.1.102-115.

Full text

Abstract:

The formation of revolutionary imagery in the works of 20th century Russian composers turned out to be a lengthy process. Its decisive stage coincides with the 1950s and is primarily connected with the musical legacy of Dmitri Shostakovich. Among the main criteria of revolutionary semantics, the following are highlighted in the article: the direct or indirect connections with the folklore of the Revolution and the Civil War; efficacy and drama, which presumes the recreation of the high tension of life experience, outlining of confrontations of life; the audacity, virility and sternness of tone, a highlighted civic consciousness of utterance, a martial, assertive spirit. The varieties of the examined complex are viewed according the principles of paired contrasts: the march-like vs. the swirling, the songlike vs. the instrumental, the potential vs. the kinetic. At the same time, it is emphasized that the attribute of the march in all of its possible interpretations, open or concealed, always remains the foundation of revolutionary imagery. The dialectic quality inherent to it always becomes unfolded in conjugacy with such seemingly incompatible pictorial characteristic features as being tuned at an irate mood and the spirit of radiance. Within the system of the examined semantics, they appear as mutually complimentary essences forming an organic whole.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Dmitry Shostakovich'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles