Log in

Relevant bibliographies by topics / Mussorgsky / Journal articles

To see the other types of publications on this topic, follow the link: Mussorgsky.

Journal articles on the topic 'Mussorgsky'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Mussorgsky.'

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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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 Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation.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

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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]

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

No Decorativas S.A., Artes, Nelson F. García, and Manuela Ribadeneira. "Sounds at an exhibition." Index, revista de arte contemporáneo, no. 09 (July 1, 2020): 80–107. http://dx.doi.org/10.26807/cav.v0i09.357.

Full text

Abstract:

Pictures at an exhibtion (Cuadros de una exposición) es una Suite para piano de diez movimientos compuesta por Modest Mussorgsky. En 1874 el compositor visitó una exposición de su amigo, el artista Viktor Hartmann, quien había muerto un año antes. Para homenajear a su amigo y capturar la experiencia del recorrido, compuso una pieza en la que cada uno de los movimientos es una ilustración musical de cada obra de Hartmann. El colectivo Artes No Decorativas S.A hace un recorrido sonoro por la exhibición Objetos de duda y de certeza de Manuela Ribadeneira, (Centro de Arte Contemporáneo de Quito 20

APA, Harvard, Vancouver, ISO, and other styles

12

Виноградова, А. С., and А. В. Лебедева-Емелина. "New Information About M. P. Mussorgsky’s Choral Arrangements of Folk Songs." Научный вестник Московской консерватории, no. 1(52) (March 27, 2023): 60–91. http://dx.doi.org/10.26176/mosconsv.2023.52.1.02.

Full text

Abstract:

В статье характеризуется неизвестный ранее автограф М. П. Мусоргского — обработка народной песни «Уж ты воля, моя воля» для мужского хора без сопровождения; дается его первая публикация. Манускрипт считался утерянным; в статье он представлен с согласия владельца рукописи (оригинал хранится в частном собрании в Германии). Данная обработка была выполнена Мусоргским в 1878 году по просьбе Михаила Андреевича Бермана, руководителя Думского кружка; автограф находился в личной коллекции дирижера. В исследовании воссоздан обширный исторический контекст, связанный с творческим окружением Мусоргского ко

APA, Harvard, Vancouver, ISO, and other styles

13

Thiel, Markus. "GEFALLENE(R) ENGEL." Opernwelt 64, no. 5 (2023): 55–56. http://dx.doi.org/10.5771/0030-3690-2023-5-055-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

MADDOX, Svetlana. "Pictures at an Exhibition by M. P. Mussorgsky as Perceived by Western and Russian Scholars." Arta XXVIII, no. 2 (2019): 20–24. https://doi.org/10.5281/zenodo.3597223.

Full text

Abstract:

The article is devoted to Mussorgsky’s famous a suite of pieces composed for piano, Pictures at an Exhibition. The author of this study examines, analyzes, and compares divergent perceptions of foreign and Russian scholars about this renowned composition by Mussorgsky. 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 a need to collect, expose, and discuss these findings. The purpose of this study, therefore, is to come to a better understanding of the meaning of Mussorgsky&rsqu

APA, Harvard, Vancouver, ISO, and other styles

15

Shmeleva, V. V. "Poem «The Prayer» by M. Lermontov in the Musical Interpretation of M. Mousorgsky." Bibliotekovedenie [Library and Information Science (Russia)], no. 4 (August 28, 2014): 76–79. http://dx.doi.org/10.25281/0869-608x-2014-0-4-76-79.

Full text

Abstract:

The article provides the analysis of M. Musorgsky’s perception of the poem «The Prayer» by M. Lermontov («I, Virgin Mary, now with Prayer...»). Romance by M. Mussorgsky belongs to the genre of the Russian religious romance, filled in with serenity, enlightened spirituality and divine love. In the vocal there are guessed the sounds of old hymns of the Orthodox Church services associated with the Znamenny chant. The composer addresses to the lyrics of M. Lermontov in a tragic moment of his life, and in the image of the Virgin Mary M. Mussorgsky finds solace.

APA, Harvard, Vancouver, ISO, and other styles

16

Chupakhina, Tatyana Ivanovna. "Russian Spiritual Experience of M.P. Mussorgsky." Общество: философия, история, культура, no. 12 (December 11, 2020): 149–51. http://dx.doi.org/10.24158/fik.2020.12.26.

Full text

Abstract:

The paper emphasizes that the processes of globali-zation, including in the field of culture, require close attention and analysis of the philosophical basis of national culture. Russian musical art of the second half of the 19th to early 20th century is a carrier of the axiological content of the cultural system. Music as a model of the Universe, as an important component of the spiritual world of the Russian people, is a specific way of seeing the world, through which they know themselves and the world as a whole. The author not only carries out a philosophical and cul-tural analysis of idea

APA, Harvard, Vancouver, ISO, and other styles

17

Alessio, Carolyn. "Listening to Mussorgsky in Mary's Garage." Chicago Review 40, no. 2/3 (1994): 73. http://dx.doi.org/10.2307/25305846.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Russ, Michael. ""Be Bored": Reading a Mussorgsky Song." 19th-Century Music 20, no. 1 (1996): 27–45. http://dx.doi.org/10.2307/746666.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Russ, Michael. ""Be Bored": Reading a Mussorgsky Song." 19th-Century Music 20, no. 1 (1996): 27–45. http://dx.doi.org/10.1525/ncm.1996.20.1.02a00020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Graeme, Roland. "Two Recordings of Khovanshcbina. Modest Mussorgsky." Opera Quarterly 9, no. 1 (1992): 164–70. http://dx.doi.org/10.1093/oq/9.1.164.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Lerner, Vladimir. "The Pathography of Composers: Modest Mussorgsky." Journal of Medical Biography 6, no. 3 (1998): 175–81. http://dx.doi.org/10.1177/096777209800600312.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Горячих, В. В. "Time in “Khovanshchina” by M. Mussorgsky." OPERA MUSICOLOGICA, no. 2023 (March 27, 2023): 8–19. http://dx.doi.org/10.26156/om.2023.15.1.001.

Full text

Abstract:

Идея многоплановости времени, воплотившаяся в «Хованщине», неоднократно декларировалась М. П. Мусоргским в его высказываниях. «Прошедшее в настоящем — вот моя задача», — писал композитор В. В. Стасову, начиная работу над оперой. Однако cобытия исторического времени, проецируемые Мусоргским на современную ему действительность, — лишь одна из составляющих полисемантической временнóй организации «Хованщины». Характерные черты авторского подхода к воплощению сюжетно-событийного времени — сжатие зафиксированного в исторических документах хронологического ряда, символизация времени суток. Утро и ноч

APA, Harvard, Vancouver, ISO, and other styles

23

Андрианова, Элина Анатольевна. "Nadezhda Teterina: “Findings in Source Studies are Pouring Out As If from a Cornucopia”." Музыкальная академия, no. 2(778) (June 30, 2022): 142–47. http://dx.doi.org/10.34690/240.

Full text

Abstract:

В феврале 2022 года Краснодарский музыкальный театр представил оригинальную версию оперы Модеста Мусоргского «Борис Годунов». В нее вошли «Сцена у фонтана» в авторской инструментовке, а также прежде ни разу не исполнявшаяся сцена «Сокольники на Днепре» из третьей и четвертой авторских редакций оперы. В подготовке краснодарской постановки приняли участие кандидат искусствоведения Н. И. Тетерина и доктор искусствоведения Е. М. Левашев - редакторы Полного академического собрания сочинений М. П. Мусоргского. В интервью Надежда Тетерина затрагивает тему многочисленных редакций «Бориса Годунова», оп

APA, Harvard, Vancouver, ISO, and other styles

24

Tsvetkova, Evgeniya O. "M. P. MUSSORGSKY AND THE BALLET THEATRE (on the 185th anniversary of the composer’s birth)." Arts education and science 2, no. 39 (2024): 207–12. http://dx.doi.org/10.36871/hon.202402207.

Full text

Abstract:

Modest Petrovich Mussorgsky, whose 185th birthday is celebrated in 2024, is known as an outstanding opera composer, creator of romances and songs, author of symphonic compositions and works for piano. This article highlights another facet of the great master’s oeuvre, which is addressed to the visual interpretation of his works. As it turns out, this is due to a number of features typical of the composer’s creative method, among which the first place is given to the theatricality of his artistic thinking. From the perspective of ballet aesthetics, especially important is the composer’s imprint

APA, Harvard, Vancouver, ISO, and other styles

25

Berezutsky, V. I., and M. S. Berezutskaya. "M.P. Mussorgsky: interrelation of creativity and alcoholism." Zhurnal nevrologii i psikhiatrii im. S.S. Korsakova 120, no. 2 (2020): 66. http://dx.doi.org/10.17116/jnevro202012002166.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Kadirbekov, K. "THE CHOICE OF THE CONDUCTOR'S MEANS OF EXPRESSION IN THE PERFORMANCE OF THE CORONATION SCENE IN THE OPERA "BORIS GODUNOV" BY M.P. MUSSORGSKY." Scientific heritage, no. 101 (November 21, 2022): 7–9. https://doi.org/10.5281/zenodo.7340709.

Full text

Abstract:

This article discusses a number of topical issues on the choice of conducting means of expression in the performance of the coronation scene in the opera "Boris Godunov" by Mussorgsky ".

APA, Harvard, Vancouver, ISO, and other styles

27

Виноградова, А. С., and А. В. Лебедева-Емелина. "Choral Compositions of Modest Mussorgsky: Overview and Contexts." Научный вестник Московской консерватории, no. 2(29) (June 26, 2017): 140–69. http://dx.doi.org/10.26176/mosconsv.2017.29.2.04.

Full text

Abstract:

Статья посвящена обзору хорового творчества Мусоргского. Рассматривают ся интересовавшие композитора сюжеты, темы, жанры и формы в контексте творчества европейских и отечественных композиторов-современников. The article is devoted to the review of Mussorgsky’s choral work. Considered are the themes, genres and forms that interested the composer in relation to works of European and domestic contemporary composers.

APA, Harvard, Vancouver, ISO, and other styles

28

Tatiana, Procop. "LA RÉCEPTION DE M.P. MOUSSORGSKI EN EUROPE (II)." DIALOGICA. Cultural Studies and Literature Scientific Journal Vol. 11, no. 2/2022 (2022): 63–69. https://doi.org/10.5281/zenodo.7033818.

Full text

Abstract:

Mussorgsky is named The “Dostoyevsky of Music” by Blaise Cendrars, a French writer with Switherland origins. Passionate about Russian culture, using the pseudonyms of Freddy Sausey, Jack Lee and Diogenes, he left Switzerland at the age of 17, for a long stay in Russia. Blaise Cendrars is one of the many people interested in Russian culture. In this article I will present Mussorgsky and the interest that Europe has shown for his activity and of course its importance for Russia and for Europe. I would show why he was not fully appreciated in Russia, and why France listened to him a l

APA, Harvard, Vancouver, ISO, and other styles

29

Babenko, ksana Vasil’evna. "TO THE QUESTION OF THE HISTORICAL SIGNIFICANCE OF “THE MIGHTY BUNCH”." Globus 8, no. 3(68) (2022): 7–14. http://dx.doi.org/10.52013/2658-5197-68-3-2.

Full text

Abstract:

The article characterizes the historical significance of the creative community of composers “The Mighty Bunch”. The activity of M.A. Balakirev, A.P. Borodin, C.A. Cui, M.P. Mussorgsky and N.A. Rimsky-Korsakov is considered. The conclusion is made about the peculiarities of the creativity of “The Mighty Bunch”, its ethnically Russian orientation.

APA, Harvard, Vancouver, ISO, and other styles

30

Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.

Full text

Abstract:

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the in

APA, Harvard, Vancouver, ISO, and other styles

31

Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky." Artefact 7, no. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.

Full text

Abstract:

The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation o

APA, Harvard, Vancouver, ISO, and other styles

32

Harris, Phil, and Patricia Rees. "Pictures at an Exhibition: Milton, Machiavelli, Monet, Mussorgsky and marketing." Marketing Intelligence & Planning 18, no. 6/7 (2000): 368–73. http://dx.doi.org/10.1108/02634500010348950.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Pavlova, Svetlana. "M. Mussorgsky Boris Godunov and Khovanshchina: the truth about "gossip"." Scientific and analytical journal Burganov House. The space of culture 20, no. 1 (2024): 45–47. http://dx.doi.org/10.36340/2071-6818-2024-20-1-45-57.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Yarosh, O. V. "M.P. Mussorgsky’s Vocal Compositions in the Genre of Musical Portrait." Art & Culture Studies, no. 3 (August 2022): 220–45. http://dx.doi.org/10.51678/2226-0072-2022-3-220-245.

Full text

Abstract:

One of the amazing facets of M.P. Mussorgsky’s creative talent was his ability to capture vivid images of specific people: those of contemporaries surrounding him in everyday life and those associated with recreating historical figures and characters from other eras. The article considers the peculiarities of the implementation of the musical portrait genre in the composer’s music. The relevance of the topic is due to the fact that this aspect in the study of M.P. Mussorgsky’s chamber-vocal music has not attracted the attention of scholars yet. The first part of the article reveals the specifi

APA, Harvard, Vancouver, ISO, and other styles

35

Tatiana, Procop. "The reception of M.P. Moussorgski in Europe." DIALOGICA. Revistă de studii culturale și literatură Vol. 9, no. 3/2021 (2021): 57–64. https://doi.org/10.5281/zenodo.5725743.

Full text

Abstract:

Mussorgsky is named The “Dostoyevsky of Music” by Blaise Cendrars, a French writer with Switherland origins. Passionate about Russian culture, using the pseudonyms of Freddy Sausey, Jack Lee and Diogenes, he left Switzerland at the age of 17, for a long stay in Russia. Blaise Cendrars one of the many people interested in Russian culture. In this article I will present Mussorgsky and the interest that Europe has shown for his activity and of course its importance for Russia and for Europe. I would show why he was not fully appreciated in Russia, and why France listened to him a lot?

APA, Harvard, Vancouver, ISO, and other styles

36

Komarnitskaya, O. V., and Zhun Din. "Marfa from "Khovanshchina" by M.P. Mussorgsky, as interpreted by Elena Vasilyevna." Искусство и образование, no. 1 (2022): 9–17. http://dx.doi.org/10.51631/2072-0432_2022_135_1_9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Shatsky, P. A. "Piano Pieces by M.P. Mussorgsky. Article I. Dancing, Opera Scenes, Scherzo." Art & Culture Studies, no. 4 (December 2024): 668–97. https://doi.org/10.51678/2226-0072-2024-4-668-697.

Full text

Abstract:

The article is devoted to the little–studied part of the piano heritage of M.P. Musorgsky — dance genres (Polka and Hopak), a Fair scene from the opera Sorochinskaya Fair and several plays written in the genre of Scherzo and Schercino. An attempt has been made to comprehensively present and analyze Musorgsky’s piano opuses, which are not part of large cyclic forms. The issues of genre specificity, piano stylistics and performance interpretation are discussed. The formal structure of the plays is considered by referring to the theoretical systems of A.B. Marx, I.V. Sposobin and L.A. Mazel. Text

APA, Harvard, Vancouver, ISO, and other styles

38

Виноградова, А. С., and А. В. Лебедева-Емелина. "M. P. Mussorgsky’s “Shamil”. Study and Reconstruction Effort." Научный вестник Московской консерватории, no. 4(43) (December 24, 2020): 62–101. http://dx.doi.org/10.26176/mosconsv.2020.43.4.005.

Full text

Abstract:

В статье впервые представлено неизвестное сочинение Мусоргского для мужского хора и фортепиано (1859), названное В. Г. Каратыгиным «Маршем Шамиля». Даны характеристики автографа и музыкальной стилистики хора; выявлен обширный исторический контекст; на основе сохранившегося авторского клавира впервые реконструирован полный нотный текст (публикуется в Приложении к статье). Параллели с фрагментами оперы Ц. А. Кюи «Кавказский пленник» (1858) служат инструментом музыкально-исторического анализа сочинения Мусоргского. Составлена летопись творческих встреч формирующегося балакиревского кружка на фоне

APA, Harvard, Vancouver, ISO, and other styles

39

Shakirova, Albina. "Opera "Boris Godunov" by M. P. Musorgsky: history of creation." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 16 (2023): 14–21. https://doi.org/10.17223/26188929/16/4.

Full text

Abstract:

The article deals with the work of Modest Petrovich Mussorgsky and the history of the creation of his most famous opera, “Boris Godunov”. Two existing author's editions and their structural features are named. The history of the creation of the opera “Boris Godunov” is presented in the context of the search for the “Mighty Handful” in the field of the opera libretto and its linguistic features. A number of specific facts are mentioned that accompanied and contributed to the appearance of the opera “Boris Godunov” - one of the most famous masterpieces of opera classics.

APA, Harvard, Vancouver, ISO, and other styles

40

Trembovelsky, Evgeny B. "“The Old Castle” by Mussorgsky in the Context of Analogies and Parallels." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 128–35. http://dx.doi.org/10.17674/1997-0854.2017.4.128-135.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Alekseeva, Irina V. "THE THEME OF MEMORY IN MIKHAIL KOLLONTAY’S TRIO “TEN WORDS OF MUSSORGSKY ON THE DEATH OF VICTOR HARTMANN”." Arts education and science 4, no. 37 (2023): 44–52. http://dx.doi.org/10.36871/hon.202304044.

Full text

Abstract:

In the spiritual life of a person, remembrance plays a significant role. The resurrection of the priceless past experience of one’s own and someone else’s opens the way to comprehension of the present, one’s own Self. Artists strive to reflect the amazing ability of a person to cross the border of the real and sacred worlds in memory. In the musical art of the second half of the XXth — early XXIst centuries, the theme of memory is embodied through a dialogue of compositions from different eras, traditions, concepts. In this vein, the article examines the unique composition by our compatriot an

APA, Harvard, Vancouver, ISO, and other styles

42

Zhang, Hui. "The interpretation of the role of Boris Godunov by the Bulgarian opera stars: B. Christoff and N. Ghiaurov." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 11–18. http://dx.doi.org/10.7256/2453-613x.2020.4.33705.

Full text

Abstract:

The research subject is the interpretation of the role of Boris Godunov in the same-name opera by M.P. Mussorgsky by the two Bulgarian opera stars B. Christoff and N. Ghiaurov, and their approach to the work on this role. The author&rsquo;s goal is to reveal the main semantic emphases of the interpretation of the leading role of &ldquo;Boris Godunov&rdquo;, and to reach this goal, the author analyzes the reviews and essays of opera critics, the biographies of the singers, as well as the memoirs of their contemporaries and the interviews with the singers. The topicality of the resea

APA, Harvard, Vancouver, ISO, and other styles

43

Zhang, Hui. "The image of Boris Godunov in the drama by A. S. Pushkin and opera by M. P. Mussorgsky: comparative analysis of philosophical-aesthetic, psychological and social components." Философия и культура, no. 7 (July 2020): 31–40. http://dx.doi.org/10.7256/2454-0757.2020.7.33393.

Full text

Abstract:

The subject of this research is the image of Boris Godunov viewed in three different aspects in the eponymous drama by A. S. Pushkin and in the opera by M. P. Mussorgsky. The goal consist in description of multifacetedness and complexity of image of the Tsar, as well as his main traits in representation of the poet and the composer, which helps the performers in staging the opera &ldquo;Boris Godunov&rdquo;. A comparative analysis of drama and opera is conducted in accordance with the tree main categories: philosophical-aesthetic foundation, psychological portrait, peculiarities of soc

APA, Harvard, Vancouver, ISO, and other styles

44

Aleksandrova, V. A. "THE PROJECT OF STAGING "KHOVANSHCHINA" BY M. P. MUSSORGSKY IN B.V. ASAFYEV’S ORCHESTRATION." Arts education and science 1, no. 2 (2020): 95–102. http://dx.doi.org/10.36871/hon.202002012.

Full text

Abstract:

The article is devoted to the history of an unrealized performance of M. P. Mussorgsky’s opera "Khovanshchina" orchestrated by B. V. Asafyev. On the basis of archival documents, stored in the Russian State Archive of Literature and Arts, the Russian National Museum of Music, Central State Archive of Literature and Art of Saint Petersburg, the Bolshoi Theatre Museum, most of which are introduced into scientific circulation for the first time, studied the circumstances under which the opera was planned to be staged in the State Academic Theatre of Opera and Ballet (nowadays — the Mariinsky Theat

APA, Harvard, Vancouver, ISO, and other styles

45

Levashev, Ye M., and N. I. Teterina. "M.P. Mussorgsky. St. John’s Eve on Bald Mountain: Texts and Contexts. Article One." Art & Culture Studies, no. 2 (June 2021): 166–97. http://dx.doi.org/10.51678/2226-0072-2021-2-166-197.

Full text

Abstract:

This article is devoted to the most stylistically original and artistically significant orchestral work by M.P. Mussorgsky, St. John’s Eve on Bald Mountain. The subject matters of the article are an examination of the background and history of this artwork’s creation, review of its creative sources, attribution of an autograph, and textological characterization of marginal marks in the score, while the goal is to form a new perspective of the research based on the deciphering of many intricate, complex and even mysterious circumstances associated with this orchestral opus. Particular attention

APA, Harvard, Vancouver, ISO, and other styles

46

Lebedeva-Emelina, Antonina, Alexey Naumov, and Anna Vinogradova. "Secrets of spiritual creative work of Mussorgsky (About authorship of hymns "Angel vopiyashe")." St.Tikhons' University Review. Series V. Christian Art 17, no. 1 (2015): 157–69. http://dx.doi.org/10.15382/sturv201517.157-169.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Shatskikh, Iuliia Vladimirovna. "Modality" as the basis of the compositional technique in the piano prelude "Voiles" by Claude Debussy." Pan-Art 3, no. 4 (2023): 236–38. http://dx.doi.org/10.30853/pa20230038.

Full text

Abstract:

The article is devoted to the interpretation of "modality" as a compositional technique that embodies an emotional component. The study establishes that the principles of modality, in many ways, contradict the tonal system. It concludes that pure modality is encountered very rarely, as it usually complements other techniques. A unique example in this regard is Claude Debussy's piano piece "Voiles" (1909) from his first book of preludes (1910). The innovative value of Debussy's musical discoveries is hard to overestimate. The novelty of his music is associated, in part, with moving away from th

APA, Harvard, Vancouver, ISO, and other styles

48

Beketova, Natalya V. "Glinka - Mussorgsky: the harmony and crisis of the Russian historical state-of-the-art." South-Russian musical anthology, no. 1 (2021): 55–62. http://dx.doi.org/10.52469/20764766_2021_01_55.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Josephson, Nors S. "Beethoven, Schumann and Wagner: stylistic influence of German music in the works of Mussorgsky." Musicologica Olomucensia 18, no. 1 (2013): 47–64. http://dx.doi.org/10.5507/mo.2013.014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Sousa, Tiago. "Questioning the formalist facet of Kant's approach to music - an application to Mussorgsky, a comparison with Hanslick and a response to Samantha Matherne." Con-Textos Kantianos. International Journal of Philosophy 17 (July 6, 2023): 71–84. http://dx.doi.org/10.5209/kant.88697.

Full text

Abstract:

In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant’s text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized th

APA, Harvard, Vancouver, ISO, and other styles

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!