Relevant bibliographies by topics / Glazunov

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Glazunov'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Glazunov.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Glazunov"

1

Baranova, Margarita. "Intermedial Specificity of Illustrations by I.S. Glazunov for the Works by F.M. Dostoevsky." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 225–32. http://dx.doi.org/10.17150/2500-2759.2020.30(2).225-232.

Full text
Abstract:
The article explores illustrations by I.S. Glazunov for the works by F.M. Dostoevsky in terms of intermediality. This up-to-date method allows us to consider the area of different kinds of art as an open information field, connected by various communication channels, «media». This method promotes deep analysis of the illustrations, their holistic interpretation and perception. Dostoevsky is Glazunov's favorite writer; it was precisely his works that the artist most often referred to in his illustrations. However, not only his skills as a graphic artist, but also his ideological closeness to the artist in words makes Glazunov’s illustrations so valuable. In his works, Glazunov tried to embody not only literary images, but also to convey the writer's philosophy, including the well-known idea of «universal responsiveness». The artist sought to convey the intention of Dostoevsky’s characters through experiments with color and chiaroscuro, as well as using the sauce and pastel technique, which made it possible to convey expressiveness and tension through certain incompleteness and sketchiness of the illustrations created by Glazunov.
APA, Harvard, Vancouver, ISO, and other styles
2

Zajaczkowski, Henry, Bolshoi Theatre Orchestra, and Algis Zhuraitis. "Aleksandr Glazunov: Raymonda." Musical Times 133, no. 1789 (March 1992): 134. http://dx.doi.org/10.2307/966447.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Горнов and A. Gornov. "Evgeniy Alekcandrovich Glazunov. To the 125th Anniversary from the Birthday." Geometry & Graphics 3, no. 4 (December 17, 2015): 55–66. http://dx.doi.org/10.12737/17351.

Full text
Abstract:
This year marks 85 years of the National Research University “Moscow Power Engineering Institute” (National Research University "MPEI”). The department of engineering drawing was the first among other departments in the MEI, for which it is also the anniversary year. The organizer and the first head of this department from 1930 to 1962 was Eugeniy A. Glazunov - a prominent scientist and educator, engineer and organizer, who celebrates 125 years. At the beginning of 1930 the Department of Electrical Engineering Higher Technical School, which earlier E.A. Glazunov graduated, has been transformed into the Moscow Higher School of Energy, which became soon the Moscow Energy Institute. Eugeniy Glazunov was appointed to the head of the department of descriptive geometry and drawing in MPEI. (Some time this department was called "Technical graphics"). His name is undeservedly rarely mentioned in textbooks and other literature in applied geometry and graphics. But Eugeniy Glazunov was very authoritative in the circle geometry and graphics, and among the heads of departments he was one of the initiators and leaders of the Moscow seminar on descriptive geometry, who published his works, and the head of the department, who generously shared teaching materials with his related institution. But E.A. Glazunov had relatively few publications compared with present time. But there were very capital works. One of them was written in conjunction with the N.F. Chetverukhin and is called "Axonometry." But it was not only an outstanding organizer and teacher, but also a magnitude engineer — designer and practitioner in the field of electrical engineering. He was a team-mate, who developed and marketed the first installation, substation and network of well-known Russian electrification plan — the plan for electrification. Based on his experience and under his leadership tasks on the engineering drawing based on electrical products and parts were improved, and drawing ceased to be exclusively machine-building. His merits in the development of engineering education and his geometry and graphic component were so significant that he was awarded the title of professorship of Higher Attestation Commission without doctoral dissertation. He was also one of the highest awards of that time, the Order of Lenin (1951).
APA, Harvard, Vancouver, ISO, and other styles
4

Skorobogacheva, E. A. "И.С. Глазунов — меценат, коллекционер, основатель музея Российской академии живописи, ваяния и зодчества." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 206–19. http://dx.doi.org/10.46748/arteuras.2021.01.015.

Full text
Abstract:
The article is devoted to the Museum of the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture. With the help of a comprehensive analysis, the history of the foundation of the museum by Ilya S. Glazunov in the 1980s and 1990s, the stages of enriching the Museum's collections in the 2000s and 2010s are studied. The purpose of the study is to characterize the activities of the Academy's museum, to justify the importance, the value of Museum collections, primarily in the educational process in mastering the skills of the realist school. The combination of historical, problem-logical, typological-systemic methods made it possible to evaluate the samples of professional art, to give their interpretation against the background of the general historical situation and the processes that determine the development of the national culture of the present time. For the first time among the rarities of the Academy's museum, more than 20 works of painting and graphics of the 19th — first half of the 20th century, included in the state part of the Museum Fund of the Russian Federation, are marked, their art history analysis is given, and their artistic value is revealed. The study revealed the role of I.S. Glazunov as an outstanding public figure, philanthropist, collector. В статье посредством применения комплексного анализа изучена история основания И.С. Глазуновым музея Российской академии живописи, ваяния и зодчества в 1980–1990-х годах, этапы пополнения музейных коллекций в 2000–2010-е годы. Цель исследования — охарактеризовать деятельность музея академии, обосновать актуальность, значение музейного собрания, прежде всего, в учебном процессе — в овладении навыками реалистической школы. При сочетании исторического, проблемно-логического, типологически-системного методов оценены образцы профессионального искусства, дана их интерпретация на фоне общей исторической ситуации и процессов, определяющих развитие отечественной культуры настоящего времени. Впервые среди раритетов академического музея обозначено более 20 произведений живописи и графики XIX – первой половины ХХ века, включенных в государственную часть Музейного фонда Российской Федерации, дан их искусствоведческий анализ, раскрыта художественная ценность. В результате исследования выявлена роль И.С. Глазунова как выдающегося общественного деятеля, мецената, коллекционера.
APA, Harvard, Vancouver, ISO, and other styles
5

Ponkina, A. M. "Quartet For Four Saxophones by Alexander Glazunov: On Tradition and Renewal." Izvestia of the Ural federal university. Series 2. Humanities and Arts 18, no. 3 (154) (2016): 266–73. http://dx.doi.org/10.15826/izv2.2016.18.3.059.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Skorobogacheva, Ekaterina Aleksandrovna. "INTERPRETATION OF THEATRICAL THEME IN GRADUATION WORKS OF ILYA GLAZUNOV ACADEMY STUDENTS." Manuscript, no. 10 (October 2019): 282–87. http://dx.doi.org/10.30853/manuscript.2019.10.56.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Сальков and Nikolay Sal'kov. "Descriptive Geometry As Theory of Images." Geometry & Graphics 4, no. 4 (December 19, 2016): 41–47. http://dx.doi.org/10.12737/22842.

Full text
Abstract:
In April 2016 at the All-Russian seminar "Geometry and Graphics", dedicated to the 125th anniversary of the birth of Glazunov Yevgeny Alexandrovich on a replica of one of the N.A. Salkov paper authors that descriptive geometry is the theory of images, the speaker somehow ambiguously stated that it is not quite so. How, in his opinion, was the case, he did not wish to disclose. Moreover, some graphic disciplines teachers believe descriptive geometry unworthy of study because some of them only known causes. They do not understand that descriptive geometry is the theory of images, and images are everywhere, right down to the computer screen. There is no such area of the human labor application where this or that image wouldn´t be applied. Images are ubiquitous! That is why descriptive geometry as a theory of images should be studied not only in the artistic and technical high educational institutions, but in all ones of Russia. In proposed paper there are numerous examples of the classics (and not only of them), expressed oneself on a subject of descriptive geometry. All statements (of Gaspard Monge, academician N.F. Chetverukhin, professors A.I. Dobryakov, E.A. Glazunov, V.O. Gordon, G.S. Ivanov, S.M. Kolotov, V.A. Peklich, N.A. Rynin, S.A. Frolov, etc.) are reduced to one and the same: a projection is an image, and descriptive geometry is the theory of images. A diagram showing that descriptive geometry’s interest area includes not only drawing, but also thirteen other sections, has been presented.
APA, Harvard, Vancouver, ISO, and other styles
8

Broad, Leah. "BBC Proms 2015: Gary Carpenter, Anders Hillborg, Ørjan Matre, Alissa Firsova, B Tommy Andersson." Tempo 70, no. 275 (December 7, 2015): 84–85. http://dx.doi.org/10.1017/s0040298215000674.

Full text
Abstract:
Sibelius' and Nielsen's 150th anniversary year has prompted a proliferation of events to celebrate the music of the Nordic composers, from conferences to concert series. The Proms has been no exception, with an unusually high number of Nordic composers represented throughout the festival (although Glazunov, also in his 150th anniversary year, has been forgotten). British composer Gary Carpenter's Dadaville was premiered on the first night, which opened to the sounds of Nielsen's Maskarade and Sibelius's Belshazzar's Feast, while later concerts covered here presented premieres by the Swedish composers Anders Hillborg and B Tommy Andersson, the Norwegian composer Ørjan Matre, and Moscow-born (though UK-based) composer Alissa Firsova.
APA, Harvard, Vancouver, ISO, and other styles
9

KONSON, GRIGORIY R. "THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY." Art and Science of Television, no. 14.4 (2018): 38–86. http://dx.doi.org/10.30628/1994-9529-2018-14.4-38-86.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Konson, GRIGORIY R. "THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY." Art and Science of Television 15.1 (2019): 30–105. http://dx.doi.org/10.30628/1994-9529-2019-15.1-30-105.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Glazunov"

1

Panayotova, Miroslava Ivanova. "In Search Of "Russianness": Russian National Idioms In Aleksandr Glazunov's Sonata No. 1 For Piano, Op. 74." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228454.

Full text
Abstract:
This document examines Sonata No. 1 for Piano, Op. 74 of Aleksandr Konstantinovich Glazunov (1865-1936) and illustrates the incorporated Russian musical elements. The study has the twofold purpose of firstly defining musical elements idiomatic of Russian folk song, Russian Orthodox Church music and the Mighty Five; and secondly finding their representation in Glazunov's piano sonata. The introductory chapter describes the purpose of this study and the need for identifying the idioms of musical Russianness. The second chapter provides a historical background and explores characteristics of Russian folk music and Russian Church music, which are intrinsic to Russian musical culture. The third chapter discusses the historical background of Russian nationalism in music, the establishment of the Saint Petersburg Conservatory, and the contributions of the Mighty Five to the rise of a truly Russian national style as opposed to the Western traditions. Chapter four provides biographical information about Aleksandr Glazunov. The first part of chapter five presents historical background of Sonata No. 1 for Piano, Op. 74. The second part of this chapter discusses the composition within the context of Russian musical elements as identified in chapters two and three. The concluding chapter six summarizes the observations of the author. It was the premise of this study that the compilation of historical and analytical evidence would lead to an identification of the idioms of musical Russianness and of their use by Aleksandr Glazunov. The analysis performed here captures the musical elements of Russianness and offers a deeper understanding of Glazunov's achievement in integrating them with traditional Western compositional techniques.
APA, Harvard, Vancouver, ISO, and other styles
2

Varvir, Coe Megan Elizabeth 1982. "Composing Symbolism's Musicality of Language in Fin-de-siècle France." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862749/.

Full text
Abstract:
In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.
APA, Harvard, Vancouver, ISO, and other styles
3

"A New Piano Reduction of the Glazunov Concerto for Violin and Orchestra in A minor Op. 82." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53905.

Full text
Abstract:
abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety.
Dissertation/Thesis
Doctoral Dissertation Music 2019
APA, Harvard, Vancouver, ISO, and other styles
4

Chang, Li-Yi, and 張立熠. "An Analysis and Performing Interpretation of Alexander Konstantinovich Glazunov’s《Concerto in E-flat Major for Alto Saxophone, Opus 109》." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/70456670786040124366.

Full text
Abstract:
碩士
國立臺南大學
音樂學系碩士在職專班
105
Alexander Konstantinovich Glazunov (1865-1936) was one of the most influential Russian composers from the late nineteenth to the early twentieth century and is considered as the leader of Russian academic musicians of his time. His compositions include ballet music, chamber music and orchestral works which show his outstanding talent and exquisite orchestration. In 1934, Glazunov completed《Concerto in E-flat Major for Alto Saxophone, Opus 109》, a single movement concerto which later became one of the most important saxophone repertoire. This research aims to study the life of Glazunov and to analyze the style and form of this work, and thus provides suggestions for performing interpretation. This paper contains six chapters: the first chapter is the introduction, which defines the direction and scope of this research; chapter two represents the four periods of Glazunov’s life based on his working status and residence. The third chapter discusses the contemporary music style of Glazunov’s time and how he was influenced; chapter four discusses the form, melody, theme and motivic development in《Concerto in E-flat Major for Alto Saxophone, Opus 109》. Chapter five gives interpretation suggestions according to researcher’s teaching and performing experiences, and also with reference to analysis outcome; the last chapter summarizes this thesis and provides saxophone players suggestions for further research and practical use.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Glazunov"

1

1931-, Vysot͡skiĭ S., and Vinogradova N. A, eds. Ilʹi͡a Glazunov. Moskva: "Izobrazitelʹnoe iskusstvo", 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Glazunov, Ilʹi︠a︡. Ilʹi︠a︡ Glazunov. Moskva: Izobrazitelʹnoe iskusstvo, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sergeevich, Glazunov Ilʹi͡a. Ilʹi͡a Glazunov. Leningrad: Izd-vo "Avrora", 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Glazunov, Ilʹi︠a︡. Ilja Glazunov ja Suomi: Ilja Glazunov och Finland. Helsinki: Kiasma, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ilʹi︠a︡ Glazunov, russkiĭ geniĭ. Moskva: "ĖKSMO", 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Glazunov, Ilya. Ilya Glazunov: Paintings & drawings, 1947-1986. [London]: Barbican Editions, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mundy, Simon. Alexander Glazunov: Russia's great musical conciliator. London: Thames, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

MORDKOVITCH, Lydia. Russian music for violin and piano: Works by Glazunov, Prokofiev, Rachmaninov, Stravinsky and Tschaikovsky. London: Chandos, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Mishchenko, Mikhail. Prinoshenie Glazunovu: K 140-letii︠u︡ so dni︠a︡ rozhdenii︠a︡ Aleksandra Konstantinovicha Glazunova (1865-1936) : ocherki. Sankt-Peterburg: Kulʹt-inform-press, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Gallery, Barbican Art. Ilya Glazunov ... painting & drawings, 1947-1986: (catalogue of an exhibition held at the Concouse Gallery 17 March to 20 April 1987). (London): Barbican Editions, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Glazunov"

1

"ALEXANDER GLAZUNOV: KEEPER OF RUSSIAN TRADITION." In Nicolas Slonimsky: Writings on Music, 44–46. Routledge, 2003. http://dx.doi.org/10.4324/9780203970294-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Meisner, Nadine. "Big Music, Big Dance." In Marius Petipa, 223–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0010.

Full text
Abstract:
This chapter deals with the Tchaikovsky and Glazunov collaborations and the late-flowering of Petipa’s genius, facilitated by Ivan Vsevolozhsky. At the age of seventy-two, Petipa created his greatest ballet, The Sleeping Beauty, and, with Lev Ivanov, Swan Lake and The Nutcracker. The often-asked question of whether he suppressed Ivanov’s talent gets a further airing, before moving on to Petipa’s penultimate big ballet, Raymonda, set to Glazunov’s first ballet score. For these ballets, Petipa made use of two more Italian dancers: Carlotta Brianza and, the greatest of all, Pierina Legnani. In 1899 Vsevolzhsky, who had written the Sleeping Beauty’s libretto and designed the costumes, was removed from his post and with his departure came the beginning of Petipa’s problems.
APA, Harvard, Vancouver, ISO, and other styles
3

Meisner, Nadine. "The Vsevolozhsky Reforms." In Marius Petipa, 189–222. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0009.

Full text
Abstract:
This chapter describes the arrival of Ivan Vsevolozhsky as director of the Imperial Theatres; Alexander III was a conservative and yet it was under his reign that the monopoly of the Imperial Theatres was dissolved. This brought about the emergence of commercial theatres, and with them, middlebrow entertainments, featuring virtuoso Italian ballet dancers. They also promulgated the féerie: a spectacular genre, emphasizing visual effects. The influence of the féerie and of Italian dancers on the Imperial Ballet and Petipa’s work is discussed, as are Vsevolozhsky’s reforms and his drive to elevate ballet music by introducing concert-hall composers, notably Tchaikovsky and Glazunov.
APA, Harvard, Vancouver, ISO, and other styles
4

"A SINGLE LINE IS GLAZUNOV’S MUSICAL LIFE." In Nicolas Slonimsky: Writings on Music, 85–87. Routledge, 2003. http://dx.doi.org/10.4324/9780203970287-23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Androsova, D. V. "THE CULTURAL MEANING OF A. GLAZUNOV’S CONCERTOS FOR PIANO (dedicated to the memory of my Teacher, professor Yuri Nekrasov)." In CULTURAL AND ARTS STUDIES OF NATIONAL ACADEMY OF CULTURE AND ARTS MANAGEMENT, 215–30. Liha-Pres, 2019. http://dx.doi.org/10.36059/978-966-397-157-5/215-230.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Glazunov' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography