Relevant bibliographies by topics / Nikolai Rimsky Korsakov

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Academic literature on the topic 'Nikolai Rimsky Korsakov'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Nikolai Rimsky Korsakov"

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Pines, R. "Sadko. Nikolai Rimsky-Korsakov." Opera Quarterly 12, no. 3 (1996): 118–20. http://dx.doi.org/10.1093/oq/12.3.118.

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Ewell, Philip. "On Rimsky-Korsakov’s False (Hexatonic) Progressions Outside the Limits of a Tonality." Music Theory Spectrum 42, no. 1 (2019): 122–42. http://dx.doi.org/10.1093/mts/mtz020.

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Abstract It is well known that Nikolai Rimsky-Korsakov used various types of octatonicism in his music, and that he likely passed on this eight-note device to his students, including, most famously, Igor Stravinsky. However, little work has been done with respect to Rimsky-Korsakov’s use of hexatonicism, despite its frequent appearance in his music. Octatonic and hexatonic structures arise naturally in Rimsky’s concept of “false progressions” along the cycle of minor and major thirds, respectively, a concept that he included at the end of his influential harmony textbook from 1885. In this article I examine his use of hexatonicism and demonstrate how it was a significant part of both his pedagogy and his compositions. In music examples selected from his operas, I identify three types of hexatonic structures and suggest specific dramatic and expressive functions for why he may have used them. I then discuss Rimsky’s own beliefs, expressed in his writings, about the hexatonic collection, which he called “wild” and “luring.” Ultimately, I aim to enrich the discourse on Rimsky-Korsakov the teacher, writer, and composer, beyond the typical Western narrative of Rimsky-Korsakov as, primarily, the teacher of Igor Stravinsky.
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Wakeling, Dennis W. "Zolotoy Pyetushok. Nikolai Rimsky-Korsakov." Opera Quarterly 9, no. 2 (1992): 165–67. http://dx.doi.org/10.1093/oq/9.2.165.

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Robinson, Harlow. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 8, no. 4 (1991): 112–14. http://dx.doi.org/10.1093/oq/8.4.112.

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Graeme, R. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 13, no. 4 (1997): 204–8. http://dx.doi.org/10.1093/oq/13.4.204.

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Pines, R. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 17, no. 1 (2001): 154–57. http://dx.doi.org/10.1093/oq/17.1.154.

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Guenther, Roy J., Gerald R. Seaman, Steven Griffiths, and Rimsky-Korsakov. "Nikolai Andreevich Rimsky-Korsakov: A Guide to Research." Notes 48, no. 2 (1991): 491. http://dx.doi.org/10.2307/942047.

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Дискин, Кирилл Владимирович, and Тобиас ван дер Пальс. "By Pen and Baton: Nikolai van Gilse van der Pals Presents Rimsky-Korsakov in Europe." Музыкальная академия, no. 3(775) (September 27, 2021): 106–19. http://dx.doi.org/10.34690/181.

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Николай ван Гильзе ван дер Пальс (1891-1969) был одним из немногих популяризаторов творчества Н. А. Римского-Корсакова в Западной Европе в период между двумя мировыми войнами, когда его музыка была там еще мало известна, особенно в немецкоязычных странах. Николай ван Гильзе ван дер Пальс написал первую монографию об операх Римского-Корсакова (опубликована в 1929 году в Лейпциге), регулярно включал его музыку в свои программы, исполняя ее как дирижер в разных странах. В статье на основе архивных документов, крайне скупых сведений в научной литературе и мемуаристике реконструируется биография ван Гильзе ван дер Пальса, освещаются его разнообразные связи с музыкальным миром Санкт-Петербурга на рубеже XIX-XX веков. Показан его путь к музыке Римского-Корсакова, а также осмыслена его культурная миссия по популяризации творчества русского композитора. Nikolai van GiLse van der Pals (1891-1969) was one of a few persistent popuLarizers of Nikolay Rimsky-Korsakov's works in the Western Europe in the period between the two Wars, when the composer's music had been little known, especially in German-speaking countries. NikoLai van GiLse van der PaLs had not onLy written the first ever monography on Rimsky-Korsakov's operas (pubLished in 1929, Leipzig), but aLso reguLarLy incLuded Korsakov's music in his programs, performing as a conductor in different countries. In this paper, basing on the archival documents and on utmostly scanty mentions in scientific and memoire Literature, the biography of Gilse van der Pals is being reconstructed, as well as his varied connections to the musical worLd of St. Petersburg at the turn of the 19 and 20 centuries. Through the prism of the biography, his way to Rimsky-Korsakov's music is shown, and aLso his cuLturaL mission for popuLarization of the Russian composer's work is comprehended.
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Wakeling, Dennis W. "The Legend of the Invisible City of Kitezh and the Maiden Fevronia. Nikolai Rimsky-Korsakov." Opera Quarterly 8, no. 1 (1991): 154–55. http://dx.doi.org/10.1093/oq/8.1.154.

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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Dissertations / Theses on the topic "Nikolai Rimsky Korsakov"

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Muir, Stephen Phillip Katongo. "The operas of N. A. Rimsky-Korsakov from 1897 to 1904." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367629.

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Halbe, Gregory A. "Music, drama and folklore in Nikolai Rimsky-Korsakov's opera Snegurochka (Snowmaiden)." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101310922.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains x, 187 p.; also includes graphics. Includes bibliographical references (p. 180-187).
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Schreiber, Rebecca A. "(Re)Framing the Storyteller’s Story in John Adams’s "Scheherazade.2"." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin155361836303747.

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Gosenpud, Abram Akimowitsch. "Die Legende von der unsichtbaren Stadt Kitesch von Nikolai Rimskij-Korsakov und Parsifal von Richard Wagner." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221306.

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Die Legende von der unsichtbaren Stadt Kitesch setzt den für Rimskij-Korsakov langwierigen und fruchtbaren Streit mit Wagner fort und schließt ihn ab. Von einem Sieg des einen Künstlers über den anderen kann hier keine Rede sein. Eins ist jedoch unstrittig: gäbe es keinen Parsifal, wäre auch Kitesch anders geschrieben.
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Gosenpud, Abram Akimowitsch. "Die Legende von der unsichtbaren Stadt Kitesch von Nikolai Rimskij-Korsakov und Parsifal von Richard Wagner." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 64-73, 1998. https://ul.qucosa.de/id/qucosa%3A15452.

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Die Legende von der unsichtbaren Stadt Kitesch setzt den für Rimskij-Korsakov langwierigen und fruchtbaren Streit mit Wagner fort und schließt ihn ab. Von einem Sieg des einen Künstlers über den anderen kann hier keine Rede sein. Eins ist jedoch unstrittig: gäbe es keinen Parsifal, wäre auch Kitesch anders geschrieben.
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Bilderback, Barry T. "Nationalism in Rimskii-Korsakov's instrumental music : an analysis of three symphonic works based on Russian themes /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018356.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.
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Schröder, Gesine. "Raffiniert ... oder lieber roh?" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60680.

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Neun Jahre nach der russischen und französischen Erstveröffentlichung erschien 1922 im Russischen Musikverlag neben der englischen schließlich auch eine deutsche Übersetzung von Rimsky-Korsakows berühmtem Traktat. Exemplarisch wird die Rezeption von Rimsky-Korsakows Schrift untersucht 1. in nach 1922 geschriebene deutschsprachigen Instrumentationslehren 2. in Dokumenten des hochschulischen Unterrichts 3. in der deutschsprachigen Historiographie der fraglichen musiktheoretischen Teildisziplinen 4. anhand Kompositionen aus der Zeit um 1930. Die mit dem Orchester verbundenen Klangideale hatten sich gewandelt. Man legte Wert auf Trennschärfe und erstrebte einen Klang, der ein gespaltener genannt und als Gegensatz zu einem verschmelzenden konstruiert wurde. Man suchte eine rohe, holzschnitthafte Orchestration. Den tiefen klangtechnischen Einsichten Rimsky-Korsakows und dem Raffinement des russischen Orchestrators konnten und wollten sich die Musiker dennoch nicht entziehen. Im Konflikt zwischen der Faszination durch seine Schrift und der neuen Klangmode zeichneten sich alsbald mehrere Lösungen ab. Besonders eine war erfolgreich: Rimsky-Korsakows ausdrückliche Empfehlungen ließen sich gegen den Strich bürsten oder auch allzu wörtlich nehmen; genau das verbürgte in den Dreißiger Jahren Expressivität
Nine years after the Russian and eight after the French first publications, the German, alongside the English translation of Rimsky-Korsakov’s famous treatise was eventually published by the Edition Russe de musique in 1922. In answering this question, the following has been taken into account: i) orchestration guides written in German after 1922; ii) documents from education institutions; iii) German historiography of the theoretical discipline in question; and iv) works by German composers who are known to have reacted against Rimsky-Korsakov’s model of orchestration. The sound ideal associated with the orchestra had changed. Selectivity was emphasized and composers sought to create an orchestral sound that was seen as ‘split up’ and thought of as the opposite to something merging and melting. The new composers sought a raw, woodcut-like orchestration. Some musicians nonetheless could not or did not want to escape from the deep technical insights of Rimsky-Korsakov, from the sophistication and raffinement of the Russian orchestrator. The conflict between the fascination by his writing and the new sound fashion soon offered multiple solutions. Especially one of them was successful: Rimsky-Korsakov\\\'s explicit recommendations could be understood against the grain, or could be taken too literally: in the thirties just this guaranteed expressivity
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Reeve, Brian. "Nikolai Rimsky-Korsakov's use of the 'byliny' (Russian oral epic narratives) in his opera Sadko." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/28574/.

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This thesis analyses the background in folk music, folk literature and folk art of Rimsky-Korsakov's sixth opera Sadko (1897). Attention is especially focused on the folk genre of the bylina, or Russian legendary and mythical oral epic narrative, from the field of which, uniquely in Russian opera, the plot of the opera is drawn. Furthermore, many incidental details of libretto and staging are derived from these epics, and, too, lengthy vocal extracts declaimed in the style of a typical Russian peasant bard. Rimsky-Korsakov also drew, however, on many other genres of folk music and folk art for his opera, and this thesis demonstrates that there is hardly one detail of this work, including cast list and stage directions, which does not derive from the Russian folk tradition. However, some critics have maintained that the measured oral unfolding of an epic narrative does not lend itself readily to adaptation for the stage, and that there are long periods of stasis in the action of the opera. The thesis rebuts this assertion by examining Rimsky-Korsakov's artistic and aesthetic conceptions, and by demonstrating that, through his adaptation of such epic material for the musical theatre, the composer was attempting to create a new genre of stage art, in which the conventional dramatic canons were to be set aside. This thesis, therefore, firstly analyses the genre of the bylina in detail, then studies Rimsky-Korsakov's background in the culture of his period, which led to his profound immersion in Russian folk culture. Subsequent to this, the other major sources of the opera Sadko are examined, as are Rimsky-Korsakov's collaboration with Mamontov's Private Opera Company, which premiered this work, owing to the composer's difficulties with the Imperial Theatres. Following an analysis of the score and libretto to ascertain how the composer incorporated his sources into his work, the thesis concludes with an evaluation of the alleged dramatic weakness and static quality of the score, and an analysis of whether the attempt to transfer an oral linear narrative to the stage was in fact successful.
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Fan, Yang-Hao, and 范洋豪. "The Analysis and Interpretation of“Concerto pour Clarinette sib et Orchestre d'Harmonie” by Nikolay Rimsky-Korsakov." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85876337846160938938.

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碩士
國立臺北教育大學
音樂學系碩士班
102
This thesis focuses on the analysis and interpretation of the clarinet work, Concerto pour Clarinette sib et Orchestre d'Harmonie by Russian composer, Nikolay Rimsky-Korsakov. It was composed in 1878.The thesis included four chapters. The Introduction includes the research motivation and purpose, scope of research, methodology and literatures. The second chapter provides the background information about Nikolay Rimsky-Korsakov his style. The third chapter researches his work “Concerto pour Clarinette sib et Orchestre d'Harmonie” using music analysis technique and the interpretation of performers. The following forth chapter concludes the previous three chapters. Through this thesis, performers will have better understanding of the birth of “Concerto pour Clarinette sib et Orchestre d'Harmonie” the meaning of the music, hence perform accordingly.
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Books on the topic "Nikolai Rimsky Korsakov"

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Nikolai Andreevich Rimsky-Korsakov: A guide to research. Garland Pub., 1988.

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Kunin, I. F. Nikolai Andrejewitsch Rimski-Korsakow. 2nd ed. Verlag Neue Musik, 1986.

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Rakhmanova, M. P. Nikolaĭ Andreevich Rimskiĭ-Korsakov. Rossiĭskai︠a︡ akademii︠a︡ muzyki im. Gnesinykh, 1995.

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Rimskai͡a-Korsakova, T. V. Detstvo i i͡unost Ń.A. Rimskogo-Korsakova. Izd-vo Kompozitor, 1995.

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Barsova, L. Nikolaĭ Andreevich Rimskiĭ-Korsakov: 1844-1908 : populi︠a︡rnai︠a︡ monografii︠a︡. 2nd ed. "Muzyka", 1989.

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Peter, Cook. The golden cockerel: A realization in music by Nikolay Rimsky-Korsakov with V.I. Byelsky. P. Cook, 1985.

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Rimsky-Korsakov, Nikolay. The golden cockerel: A realisation in music by Nikolay Rimsky-Korsakov with V.I. Byelsky. P. Cook, 1985.

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Peter, Cook. The golden cockerel: A realization in music by Nikolay Rimsky-Korsako with V. I. Byelsky. Self-Publishing Association, 1990.

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International Musicological Convention (1994 Vorzel ,́ Kiev, Ukraine). Anton Rubinstein and Nikolaj Rimsky-Korsakov: Selected operas : proceedings of the International Musicological convention in Vorzel (Ukraine), May 4th-6th, 1994. Edited by Zinʹkevych O. Musik-Edition L. Galland, 1997.

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Seaman, Gerald. Nikolay Andreevich Rimsky-Korsakov. Taylor & Francis Group, 2018.

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Book chapters on the topic "Nikolai Rimsky Korsakov"

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Redepenning, Dorothea. "Rimskij-Korsakov, Nikolaj Andreevič." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_40.

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Redepenning, Dorothea. "Rimskij-Korsakov, Nikolaj Andreevič." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_253.

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Redepenning, Dorothea. "Rimskij-Korsakov, Nikolaj Andreevič." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_250.

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"NIKOLAI RIMSKY-KORSAKOV." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.49.

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"NIKOLAI RIMSKY-KORSAKOV." In The Opera Lover’s Companion. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-052.

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Frey, Emily. "Rimsky-Korsakov, Snegurochka, and Populism." In Rimsky-Korsakov and His World. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0002.

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This chapter looks at Rimsky-Korsakov's Snegurochka (The Snow Maiden) in the political context of the era, namely within a particular branch of 1870s populism that extolled “harmonious communal ritual, agrarian prehistory, and the development of individual feeling.” Together, the Snegurochkas of Alexander Ostrovsky and Rimsky-Korsakov offer perhaps the clearest representations in art of the populist notion of the ideal past, depicting the prehistoric village as a site of social cooperation and humane politics. Indeed, in his adaptation of Snegurochka, Rimsky-Korsakov united an idealized vision of the past with the progress of private, inner feeling. Meanwhile, Russia's thick journals of the seventies brimmed with articles by populist thinkers like Nikolai Mikhailovsky and stories about village life by writers such as Gleb Uspensky and Nikolai Zlatovratsky.
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Timofeev, Yaroslav. "How Stravinsky Stopped Being a Rimsky-Korsakov Pupil." In Rimsky-Korsakov and His World, translated by Jonathan Walker. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0008.

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This chapter focuses on a dramatic moment in the life of Igor Stravinsky when he was forced to choose between loyalty to the memory of his beloved teacher Nikolai Rimsky-Korsakov on the one hand, and his new loyalty, both commercial and artistic, to Sergei Diaghilev on the other hand—a choice, in effect, between St. Petersburg and Paris. After Rimsky-Korsakov's death, Stravinsky's opinions on his teacher were rather odd. His comments were contradictory, his evaluations widely diverging, doubtless stemming from the fact that it was not always clear whether he was writing under the influence of Rimsky-Korsakov or in reaction to him. Stravinsky's active departure from his teacher's ways required no more than five years, and the end of this period was marked by a decisive full stop: Rimsky-Korsakov's completion of Modest Musorgsky's unfinished Khovanshchina was pushed aside when Stravinsky, together with Diaghilev and Maurice Ravel, issued a new version designed to correct all of Rimsky-Korsakov's “errors.”
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"Nikolai Rimsky-Korsakov (1844–1908)." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-047.

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Panteleeva, Olga. "St. Petersburg Conservatory and the Beginnings of Russian Musicology." In Rimsky-Korsakov and His World. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0007.

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This chapter looks at St. Petersburg Conservatory and Soviet musicology. The St. Petersburg Conservatory bears Nikolai Rimsky-Korsakov's name not only on account of the composer's contribution to the Russian classical music canon, but because he is perceived as a progenitor of the institutionalized study of music in Russia—both practical and theoretical. It is true that Rimsky-Korsakov played a leading role in shaping the first syllabi of music-theoretical courses at the St. Petersburg Conservatory. However, the lineage that connects these courses to the present-day curricula is by no means as direct as it is sometimes painted. The chapter then argues that under Rimsky-Korsakov, music theory was seen as the handmaiden to composition, which hindered the institutionalization of historical musicology.
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Issiyeva, Adalyat. "Nikolai Rimsky-Korsakov and His Orient." In Rimsky-Korsakov and His World. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0004.

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This chapter discusses Rimsky-Korsakov's last opera, The Golden Cockerel, in the context of his Orientalism, looking at its musical sources and more generally at the complexity of influences at work on an artist working in the capital of a Russian Empire that directed much of its energy and ingenuity to the task of keeping its Asian territories under control. Despite being raised on nineteenth-century Orientalist musical conventions, Rimsky-Korsakov's view of the East underwent a profound transformation and departed from Orientalism; it developed from simple imitation and reliance on the Orientalist truisms to the critique of these very truisms. His last opera's two most fantastic and undeniably eastern characters help to reveal not only the absurdity of Russia's political system but Rimsky-Korsakov's own skepticism vis-à-vis Eurocentric legitimations of colonial conquest.
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Conference papers on the topic "Nikolai Rimsky Korsakov"

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Zenkin, Konstantin. "OPERA IN THE CONTEXT OF RELIGIOUS AND SOCIAL MYTHS: SERGEY DURYLIN ON RICHARD WAGNER AND NIKOLAY RIMSKY-KORSAKOV." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s14.024.

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