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Relevant bibliographies by topics / Mussorgsky

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Academic literature on the topic 'Mussorgsky'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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Journal articles on the topic "Mussorgsky"

1

Koshkareva, Natalya Vladimirovna. "Choral polyphony in M. Mussorgsky 's operas." Человек и культура, no. 4 (April 2022): 1–11. http://dx.doi.org/10.25136/2409-8744.2022.4.38588.

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The purpose of this article is to study polyphonic techniques in the opera choirs of M. Mussorgsky. The question is raised about the identity of M. Mussorgsky's polyphonic thinking from the point of view of the free refraction of the forms and techniques of writing Western European polyphony in it. The subject of the study are choirs from the operas "Boris Godunov" and "Khovanshchina". Through the synthesis of research methods, including musicology and choral studies, the specific features of M. Mussorgsky's polyphony are revealed. Attention is drawn to the fact that polyphony in M. Mussorgsky

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Perry, Simon. "A Voice Unknown: Undercurrents in Mussorgsky's Sunless." 19th-Century Music 28, no. 1 (2004): 15–49. http://dx.doi.org/10.1525/ncm.2004.28.1.15.

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Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential "eye-witness" for those to whom Stasov's populist characteriza

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3

Green, London. "Khovanshcbina. Modest Mussorgsky." Opera Quarterly 6, no. 2 (1988): 109–10. http://dx.doi.org/10.1093/oq/6.2.109.

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McKee, David. "Khovanshchina. Modest Mussorgsky." Opera Quarterly 8, no. 4 (1991): 108–11. http://dx.doi.org/10.1093/oq/8.4.108.

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Solomonova, Olga. "Interpretation Content of the Modern Musical Theater: Portrait in the Style of ad Libitum." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 143–59. http://dx.doi.org/10.31318/2522-4190.2021.130.231226.

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Relevance of the study. The interpretive space of modern musical theater is one of the most dynamic, multivariate and modernized world culture phenomena. In the era of culture “non-classical paradigm” the past cult operas viability is maintained through their renewed representation and “alienation”. The refusal to perceive the author’s work as complete and the only possible for realization emancipates the modern interpretive strategy and opens up endless possibilities until the emergence of the “corporate” opera text’s phenomenon. So the interpretation process extends to the work’s “inner sanc

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Pavlova, Svetlana A. "The Promised Novelty of Mussorgsky's Folk Dramas." Scientific and analytical journal Burganov House. The space of culture 20, no. 4 (2024): 10–19. http://dx.doi.org/10.36340/2071-6818-2024-20-4-10-27.

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Boris Godunov and Khovanshchina are folk dramas, for the composition of which the composer prepared as for the main creative achievements, exploring the artistic style and honing his skills on previous and simultaneously created works. The goal was "new shores &lt;…&gt; of boundless art". M. Mussorgsky's decisive call "to new shores!" is unforgettable in the memory of descendants. However, not everyone knows the full statement of the composer, who strived to "seek these shores, seek tirelessly, without fear and embarrassment", to seek in order to "stand firmly on the promised land" [5]

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Thomas, Christopher J. "Boris Godunov. Modest Mussorgsky." Opera Quarterly 3, no. 2 (1985): 139–41. http://dx.doi.org/10.1093/oq/3.2.139.

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Hunt, Christopher. "Boris Godunov. Modest Mussorgsky." Opera Quarterly 4, no. 1 (1986): 162–65. http://dx.doi.org/10.1093/oq/4.1.162.

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Eckert, Thor. "Boris Godunov. Modest Mussorgsky." Opera Quarterly 7, no. 1 (1990): 196–98. http://dx.doi.org/10.1093/oq/7.1.196.

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Stewart, G. "Mussorgsky in the Extreme." Opera Quarterly 23, no. 1 (2008): 96–102. http://dx.doi.org/10.1093/oq/kbn006.

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Dissertations / Theses on the topic "Mussorgsky"

1

Lee, Chen-Tien. "Mussorgsky's Pictures at an exhibition : an analytical and performance study /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187906733.

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Nagachevskaya, Svetlana. "Pictures at an Exhibition: a Reconciliation of Divergent Perceptions about Mussorgsky's Renowned Cycle." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194168.

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This research is consecrated to Mussorgsky's famous cycle of character pieces, Pictures at an Exhibition. The author of this study examines, analyzes, and compares divergent perceptions about Mussorgsky's renowned cycle that have emerged among Mussorgsky scholars in Russia and abroad. Due to the fact that there is such an array of diverse viewpoints about Pictures at an Exhibition, some of which are conflicting or even contradictory, there is need to collect, expose, and discuss these findings. Therefore, the purpose of this study is to come to a better understanding of Mussorgsky's composi

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Di, Sabbatto Sérgio. "Três transcrições do "Quadro de uma Exposição" de Modest Mussorgsky: uma análise comparativa." Universidade Federal do Rio de Janeiro, 2002. http://hdl.handle.net/11422/2388.

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Submitted by Miguel R. Amorim Neto (miguel@sibi.ufrj.br) on 2017-07-10T21:32:43Z No. of bitstreams: 1 580844.pdf: 18693090 bytes, checksum: a53bd2e1125b0ef11f4c1be99490f445 (MD5)<br>Made available in DSpace on 2017-07-10T21:32:43Z (GMT). No. of bitstreams: 1 580844.pdf: 18693090 bytes, checksum: a53bd2e1125b0ef11f4c1be99490f445 (MD5) Previous issue date: 2002-08-28<br>Partindo da premissa de Samuel Adler, que compara a transcrição orquestral à tradução poética, o presente texto investiga três transcrições orquestrais da suíte para piano “Quadros de uma Exposição” de Modest Mussorgsky. As

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Quick, Matthew G. "Mussorgsky’s Pictures at an Exhibition:Identifying the Expressive Narrative through Comparisons with Vocal Literature." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406819727.

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Reale, Diva Evelyn. "Um estudo sobre o conteúdo descritivo na interpretação da obra "Quadros de Uma Exposição" de: Mussorgsky." Universidade Federal do Rio de Janeiro, 1992. http://hdl.handle.net/11422/2608.

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Submitted by Alberto Vieira (martins_vieira@ibest.com.br) on 2017-08-09T17:14:57Z No. of bitstreams: 2 508913 vol.1.pdf: 16149594 bytes, checksum: 9ee6d83785d1623de27b3412efdd0fa0 (MD5) 508913 vol.2.pdf: 25612230 bytes, checksum: 675fcb34e4b8d3331a8f79ff694e1e56 (MD5)<br>Made available in DSpace on 2017-08-09T17:14:57Z (GMT). No. of bitstreams: 2 508913 vol.1.pdf: 16149594 bytes, checksum: 9ee6d83785d1623de27b3412efdd0fa0 (MD5) 508913 vol.2.pdf: 25612230 bytes, checksum: 675fcb34e4b8d3331a8f79ff694e1e56 (MD5) Previous issue date: 1992-12-15<br>Estudo sobre o conteúdo descritivo na obra

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Benbalit, Tatiana I. "The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11252.

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Wong, Mohamed Najib. "A COMPREHENSIVE GUIDE TO TRUMPET ORCHESTRAL EXCERPTS: AN ANALYSIS OF EXCERPTS BY BARTÓK, BEETHOVEN, MAHLER, AND MUSSORGSKY." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/469065.

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Music Performance<br>D.M.A.<br>Orchestral excerpts have become one of the most, if not the most important component of classical trumpet education in the last 50 years. This monograph discusses how trumpet orchestral excerpts grew in importance and how the demand for it catalyzed a rush for publications. As the number of trumpet players grew exponentially more than the supply of orchestral jobs, the mindset toward perfect performances of these excerpts began to narrow the focus of learning to an emphasis on technical proficiency. Context and the understanding of how the trumpet part relates to

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Campbell, James Stuart. "Music as Text and Image: Musorgsky's «Songs and Dances of Death»." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37135.

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Gurewitsch, Wladimir. "Das Schicksal von Mussorgskis Oper Chovanščina im Kontext der europäischen Opernkultur Ende des 19. bis Ende des 20. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220980.

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In diesem Auditorium ist es nicht nötig, die Bedeutung des Opernschaffens Mussorgskis für die Musikkultur unseres Jahrhunderts zu erklären. Wenn wir aber von seinen Opern und deren Aufführungen in Europa sprechen, dürfen wir nicht übersehen, daß den Löwenanteil der Popularität dem Autor nur ein Werk brachte, Boris Godunov. Sowohl für die Ontologie als auch für die Gnoseologie der modernen Opernkunst ist aber das Schicksal des zweiten Kunstwerks des russischen Komponisten, der Chovanščina, nicht weniger interessant.

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Burde, Tamara. "Musik und Sprache in den Opern Modest Mussorgskijs." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37145.

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Books on the topic "Mussorgsky"

1

Nesemeyer, Rotraud. Modest Mussorgsky, Bilder einer Ausstellung. Junker, 1995.

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Mussorgsky, Modest Petrovich. Mussorgsky's complete song texts: Russian texts of the complete songs of Modest Petrovich Mussorgsky. Leyerle, 2002.

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Bojti, János. Muszorgszkij Hovancsinája. Rozsavölgyi és Társa, 2019.

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4

Emerson, Caryl. The life of Musorgsky. Cambridge University Press, 1999.

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Emerson, Caryl. The life of Musorgsky. Cambridge Uiversity Press, 1999.

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1875-1925, Karatygin V. G., and Kuhn Ernst, eds. Modest Mussorgsky: Zugänge zu Leben und Werk : Würdigungen, Kritiken, Selbstdarstellungen, Erinnerungen, Polemiken. E. Kuhn, 1995.

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7

Bakema, Brita. Moessorgski op de stroom van de tijd: Schilderijen in klank en beeld. Uitgeverij Komma, 2018.

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8

Gorischek, Thussy. Russische National-Komponisten des 19. Jahrhunderts: Michail Glinka, Das Mächtige Häuflein (Balakirew, Cui, Mussorgsky, Borodin, Rimsky-Korsakow) & Peter Tschaikowsky. Studio Edition, 2005.

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9

Mussorgsky, Modest Petrovich. Chovansjtsjina. Theatre royal de la Monnaie, 1996.

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10

Montero, Reinaldo. Sin el permiso de Mussorgski. Union de Escritores y Artistas de Cuba, 1992.

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Book chapters on the topic "Mussorgsky"

1

Montgomery, Alan. "Mussorgsky, Tchaikovsky, and the Five." In Opera Coaching. Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-19.

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2

"MODEST MUSSORGSKY." In The Opera Lovers Companion. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-043.

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"MUSSORGSKY, ORCH. RAVEL." In Orchestral Masterpieces under the Microscope. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.47.

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"Mussorgsky, orch. Ravel Pictures from an Exhibition." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-020.

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Slatkin, Leonard. "Modest Mussorgsky, orch. Maurice Ravel: Pictures at an Exhibition." In Eight Symphonic Masterworks of the Nineteenth Century. Rowman & Littlefield Publishers, 2024. https://doi.org/10.5771/9781538187203-27.

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Karlin, Daniel. "Voulez ouyr les cris de Paris?" In Street Songs. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792352.003.0007.

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In an episode of La Prisonnière, the sixth volume of Marcel Proust’s À la recherche du temps perdu, the narrator listens from his bedroom to the cris de Paris, which like the ‘Cries of London’ had long been enshrined in music and visual art. The pleasure the narrator takes in associating the cries he hears with Gregorian plainchant, or the music of Debussy and Mussorgsky, suggests his interest is purely aesthetic. But this aesthetic surface is a mask; in the street-vendors’ cries he hears a different song, the song of the Sirens, tempting his lover Albertine into the streets, ‘translating’ foo

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Kildea, Paul. "Francis Poulenc 1899-1963 (1964)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0075.

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Abstract To the average Englishman, Francis Poulenc’s music may have appeared that of the typical French composer: witty, daring, sentimental, naughty. In fact Francis was very easily depressed, shockable, unsure, and liable to panic. No one who saw it will ever forget his agony in a boat on Thorpeness Meare, and it was really his horror of the sea which finally stopped him from coming back to Aldeburgh in 1958 to play in Tiresias.1 He was always re-writing his music and he burnt his only String Quartet.Which is not to say that he had not a strong personality. He was not ashamed to admire and

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"Marschner – Mussorgski." In Opern-Diskographie. K. G. Saur, 2008. http://dx.doi.org/10.1515/9783110955965.645.

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"Mussorgsky’s Night on Bald Mountain." In The Curve of the Sacred. BRILL, 2006. http://dx.doi.org/10.1163/9789401203203_011.

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Lombardo, Patrizia. "Barthes and the Emotions." In Interdisciplinary Barthes. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266670.003.0013.

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Barthes’s œuvre is significant not simply for the ‘linguistic turn’ of the second half of the twentieth century, but also for the interest in the emotions that has marked a number of disciplines since the early 1980s. This chapter analyses Barthes’s changing relationship to affectivity in general and to art considered as an emotional experience. The early Barthes, enthralled by Brecht’s dramaturgy and Japanese Bunraku, denounced traditional Western theatre for its privileging of the expression of emotions and the audience’s participation in the feelings of fictional characters (Barthes’s compa

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Conference papers on the topic "Mussorgsky"

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Dubinin, Anastasia Vladimirovna. ""Pictures at an Exhibition" by M.P. Mussorgsky." In III International applied research conference for pupils, chair Lyubov Dmitriyevna Noskina. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-81128.

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Aleksandrova, Vasilisa. "Pavel Lamm - Boris Asafyev Edition of the Opera qKhovanshchinaq by Modest Mussorgsky. Bringing Forward a Scholarly Problem on the Basis of Archival Materials." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.20.

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Nivat, Georges. "“TRACTS OF RUSSIAN MEMORY” OR THE MAIN “NESTS” OF MEMORY IN RUSSIA." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.02.

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In this text, are given the plan and main contributions that are gathered in a collective work directed by Prof. Georges Nivat, Les sites de la mémoire russe. The first volume, Géographie de la mémoire russe, was published in 2007, the second one, Histoire et mythes de la mémoire russe, in 2019. The word “site” is meant as a prominent detail in the landscape and translated into Russian as “Uročišča”. The aim is to give a view of the main “sites” and debates that have arisen along Russian historiography since the 18th century. The “invention” of the “Chronicles” is one spectacular example. It g

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Aleksandrova, Vasilisa. "The Stage Performance Project of B. V. Asafyev’s Orchestral Score for M. P. Mussorgsky’s Opera Khovanshchina." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.058.

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