Relevant bibliographies by topics / Prokofiev

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

Academic literature on the topic 'Prokofiev'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Prokofiev"

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Dixon, Gavin. "St Petersburg, Shostakovich Hall: Gabriel Prokofiev's Cello Concerto." Tempo 67, no. 266 (2013): 78–79. http://dx.doi.org/10.1017/s0040298213000922.

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When Gabriel Prokofiev first came to prominence in the UK, comparisons were inevitably made with his famous grandfather. Gabriel has since forged a distinctive musical identity for himself, making the shared name all but irrelevant. But in Russia that name carries even greater significance, so it was little surprise that the world première of Gabriel's Cello Concerto in Saint Petersburg, on 18 May, was in a concert that included at least two Prokofievs. In fact, a third Prokofiev was also featured, as the event began with poetry by Oleg: Gabriel's father and Sergei's son.
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Kondakov, Igor V. "SERGEI PROKOFIEV OPERA HOUSE: A CYCLE OF BINARY MACROSTRUCTURES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 138–52. http://dx.doi.org/10.28995/2686-7249-2022-7-138-152.

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The S. Prokofiev Theater is today considered one of the pinnacles of the world musical theater of the 20th century. This article is devoted to the opera theater of S. Prokofiev and its philosophical overtones. It is important to understand the features of the formation and development of such a theater as a whole, to comprehend the design of the Prokofiev theater as a system of separate theatrical works in the creative mind of the author. The logic of the composer’s theatrical creativity, which in a peculiar way refracted the philosophy of Kant and Schopenhauer, required that each new work of
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Barker, Michael K., Nancy L. Chabot, Erwan Mazarico, et al. "New Constraints on the Volatile Deposit in Mercury’s North Polar Crater, Prokofiev." Planetary Science Journal 3, no. 8 (2022): 188. http://dx.doi.org/10.3847/psj/ac7d5a.

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Abstract We present new high-resolution topographic, illumination, and thermal models of Mercury’s 112 km diameter north polar crater, Prokofiev. The new models confirm previous results that water ice is stable at the surface within the permanently shadowed regions (PSRs) of Prokofiev for geologic timescales. The largest radar-bright region in Prokofiev is confirmed to extend up to several kilometers past the boundary of its PSR, making it unique on Mercury for hosting a significant radar-bright area outside a PSR. The near-infrared normal albedo distribution of Prokofiev’s PSR suggests the pr
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Савкина, Н. П. "“Due to Poor Health and for Artistic Necessity”. From Prokofiev’s Correspondence Archived at Columbia University." OPERA MUSICOLOGICA 16/1, no. 2024. 16/1 (2024): 170–207. http://dx.doi.org/10.26156/operamus.2024.16.1.009.

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В публикации представлена подборка писем Прокофьева, хранящихся в The Serge Prokofiev Archive (Колумбийский университет, Нью-Йорк). Указанные письма обновляют знания о культурной жизни Европы и СССР 1920-х — начала 30-х гг., о людях, с которыми переписывался Прокофьев, о самòм композиторе. Дополнительный мотив переписки — встреча двух миров, разница между которыми весьма ощутима. Анализ фактов, представленных в письмах, дает немало новой информации. Много существенного вносят письма в изучение личности Прокофьева, проявляющей себя по-разному в общении с различными людьми. Здесь, как и во всем,
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Kondakov, Igor Vadimovich. "The Philosophy of Sergei Prokofiev." Pan-Art 2, no. 4 (2022): 114–23. http://dx.doi.org/10.30853/pa20220018.

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The aim of the paper is to present the philosophy of Sergei Prokofiev not only as a concentration of his creative experience, but also as a result of studying works by the great philosophers, I. Kant and A. Schopenhauer. Prokofiev distinguishes between a priori philosophy of music and a posteriori philosophy of music in his creative work. The first one is represented by thoughts about music (creative will); the second one is represented by musical works themselves (creative ideas). The scientific novelty of the research lies in considering Kant’s antinomies of pure reason as Prokofiev’s frame
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Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage." Cambridge Opera Journal 26, no. 3 (2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.

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AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera accepta
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Ляхович, Артём Владимирович. "Prokofiev and Fairy Tale." Музыкальная академия, no. 1(777) (March 31, 2022): 96–105. http://dx.doi.org/10.34690/221.

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Статья посвящена образной сфере сказки в творчестве Прокофьева, которая трактуется как ключевой локус его поэтики. Эта сфера рассмотрена в двух планах: сказочность как нарратив (в аспекте музыкально-инструментальной литературности, уподобления инструментального произведения литературной притче) и сказочность как творческий метод (в аспекте музыкального языка Прокофьева, его принципиальной установки на оригинальность и, соответственно, на необычность, остранение, чудо). Со вторым планом связана и сфера детства в музыке Прокофьева, тождественная миру, увиденному «как впервые». Нарратив трактуетс
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Prokofiev, Artem M., and Carsten Zorn. "Review of the Mimela species of the Dalat Plateau in southern Vietnam (Coleoptera, Scarabaeidae, Rutelinae)." Beiträge zur Entomologie = Contributions to Entomology 66, no. 2 (2016): 329–46. http://dx.doi.org/10.21248/contrib.entomol.66.2.329-346.

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Zwölf Arten der Gattung Mimela wurden im Gebiet des Dalat-Plateaus in Südvietnam gefunden. Zehn von ihnen werden als neu für die Wissenschaft beschrieben. Die Mehrzahl der Arten scheint endemisch zu sein und hat Verwandte in der Sino-Himalaya-Region.StichwörterColeoptera, Scarabaeoidea, Scarabaeidae, Rutelinae, Anomalini, Mimela, Vietnam, Dalat, new species, taxonomy, Oriental region.Nomenklatorische Handlungenamphichroma Zorn & Prokofiev, 2016 (Mimela), spec. nov.campyloclados Zorn & Prokofiev, 2016 (Mimela), spec. nov.dalatocoerulea Zorn & Prokofiev, 2016 (Mimela), spec. nov.galb
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PROKOFIEV, ARTEM M. "New species and records of Maechidius Macleay, 1819 from New Guinea (Coleoptera: Scarabaeidae: Melolonthinae)." Zootaxa 5205, no. 5 (2022): 445–62. http://dx.doi.org/10.11646/zootaxa.5205.5.3.

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Seven species of Maechidius Macleay, 1819 from New Guinea are described, namely M. addarcis Prokofiev, new species, M. astrolabius Prokofiev, new species, M. bombycinus Prokofiev, new species, M. echinoides Prokofiev, new species, M. macrosoma Prokofiev, new species, M. penicilliger Prokofiev, new species, and M. telnovi Prokofiev, new species. Males of M. interruptocarinulatus Heller, 1914 and aedeagus of M. seriepunctatus Moser, 1920 are described for the first time. Key to the Indonesian and New Guinean species is amended for inclusion of the newly described species.
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MURDY, EDWARD O. "Corrections and clarifications to the descriptions of Biendongella and Sovvityazius (Perciformes: Gobiidae)." Zootaxa 4276, no. 1 (2017): 127. http://dx.doi.org/10.11646/zootaxa.4276.1.7.

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Prokofiev (2015a) described two new genera and species of Amblyopinae and reported new amblyopine records from waters off Indonesia, the Philippines, and Vietnam. In reviewing Prokofiev’s figures and reading the descriptions of his new genera, Biendongella Prokofiev, 2015 and Sovvityazius Prokofiev, 2015, it appeared likely that these new taxa were based on species also under examination by Koichi Shibukawa and me. However, some differences existed between our specimens and those described by Prokofiev in the pterygiophore formula (DF), the presence/absence of hypural 5, and the number of epur
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Dissertations / Theses on the topic "Prokofiev"

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Howell, Chelsea Gayle. "Multidisciplinary performance issues in Sergei Prokofiev's Trapèze." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459902831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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ZHU, DI. "PROKOFIEV'S PIANO TRANSCRIPTIONS: A COMPARATIVE STUDY OF HIS TRANSCRIBING TECHNIQUES." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318.

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Nataša, Crnjanski. "Prokofjev i muzički gest – klavirske sonate." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=84602&source=NDLTD&language=en.

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<p>Cilj disertacije je da se kori&scaron;ćenjem teorije o<br />muzičkom gestu - na sonatama kao<br />reprezentativnom uzorku u kome je gest osnova<br />izgradnje muzičkog značenja, generator<br />kompozicione forme i strukture, ali i determini&scaron;ući<br />faktor analize koji obezbeđuje razumevanje stila i<br />stilskih promena - potvrdi upotreba muzičkog gesta<br />kao elementa naratologije muzičkog toka u muzici<br />Prokofjeva. &Scaron;ire gledano, primena teorije o<br />muzičkom gestu na istraživanje klavirskih sonata<br />Sergeja Prokofjeva potvrdiće njenu univerzalnu<br />profilisanos
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Bogart, Steven. "Rhapsody." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/td/3.

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Jones, Kathryn E. "Prokofiev Beckons the Double Bass Into the Modern Age: a Pedagogical Study of the Op 39 Quintet." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699907/.

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Until Serge Prokofiev’s 1924 ballet score Trapèze, the double bass occupied a background or at best a doubling role in almost all composers’ use of the instrument. Technical challenge was limited in these pieces, because composers did not see the instrument’s potential in a chamber music environment. As luthiers developed the instrument, the technical ability of players grew, and composers began writing more challenging music for the instrument. As one of the first major composers to see the double bass in a new light, Prokofiev wrote challenging music for the instrument. This paper illumi
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Wilson, Deborah Annette. "Prokofiev’s Romeo and Juliet: history of a compromise." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061231843.

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Kim, Sooyoung. "Perspectives on the Symbiosis of Traditional and Modernist Techniques in Four Violin Compositions by Sergei Prokofiev." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918892.

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Sologub, Olga. "Sergei Prokofiev's Piano Sonata No. 8, Op. 84 and Symphony No. 5, Op. 100 : Neo-Riemannian and Kholopovian perspectives." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/sergei-prokofievs-piano-sonata-no-8-op-84-and-symphony-no-5-op-100-neoriemannian-and-kholopovian-perspectives(1e3b29e4-2086-4f12-bd5b-ea02635bbccd).html.

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Sergei Prokofiev is among the ranks of early-twentieth century composers whose music endures in the concert hall and whose life has attracted much musicological research. Fewer studies, however, have undertaken an analytical investigation into his music, and the body of scholarly work on the musical theoretical issues raised by his compositions does not rival that exploring the music of such major contemporaries as Igor Stravinsky and Béla Bartók. Existing Anglo-American contributions to the field of Prokofiev theory have mostly employed the tools of common-practice musical analysis, many of t
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Orlov, Vladimir Sergeevich. "Soviet cantatas and oratorios by Sergei Prokofiev in their social and cultural context." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609314.

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Moron, Nicolas. "Une incantation mise en musique : édition critique de "Sept, ils sont sept" de Serge Prokofiev." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2003.

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La partition de "Sept, ils sont sept" pour ténor solo, chœur et orchestre ayant été imprimée en Russie en 1922 sans l'accord du compositeur, la question de l'authenticité du texte musical de cette œuvre, méconnue et néanmoins l'une les plus chères à Prokofiev, est fondamentale. L'origine de l'incantation mésopotamienne transcrite par le poète Constantin Balmont, à partir de laquelle Prokofiev rédigea le texte mis en musique, a pu être retracée en confrontant les ouvrages du poète aux écrits du compositeur. Des liens ignorés jusqu'à présent ont ainsi pu être tissés, et les rôles successifs joué
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Books on the topic "Prokofiev"

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Mamonova, Olʹga. Oleg Prokofʹev: Vozvrashchenie = Oleg Prokofiev : The return. Vagrius Pravda, 2010.

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Samuel, Claude. Prokofiev. Marion Boyars Publishers, 1998.

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Schipperges, Thomas. Prokofiev. Haus, 2003.

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David, Gutman. Prokofiev. Alderman Press, 1988.

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Samuel, Claude. Prokofiev. Seuil, 1995.

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Alessandro, Crosta, and Associazione Igor Stravinsky, eds. Sergej Prokofiev. De Angelis, 2003.

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Robinson, Harlow. Sergei Prokofiev: A biography. Viking, 1987.

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Robinson, Harlow. Sergei Prokofiev: A biography. Paragon House, 1988.

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Prokofiev, Sergey. Selected letters of Sergei Prokofiev. Northeastern University Press, 1998.

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1964-, Morrison Simon Alexander, and Bard Music Festival, eds. Sergey Prokofiev and his world. Princeton University Press, 2008.

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Book chapters on the topic "Prokofiev"

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Ghosh, Kerenza. "Chapter 4. Exploring animality and childhood in stop-motion animation Prokofiev’s Peter & the Wolf." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.04gho.

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This chapter presents animality as a way to illuminate interconnected relations between children and animals in film through an analysis of stop-motion animation Prokofiev’s Peter &amp; the Wolf (Templeton 2006), adapted from a symphonic fairy tale by Sergei Prokofiev (1936). It argues for animality as a core concept in preserving animal essence and credibility while exploring how animal characters integrate the human and nonhuman. Interdependence between animals and children is considered through notions of “significant otherness” (Haraway 2003) and “childhoodnature” (Cutter-Mackenzie-Knowles
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Frolova-Walker, Marina. "“Monsieur Prokofieff”." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0006.

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Composers’ national identities, as we perceive them, tend to act as a constraint on the type of questions we ask about them. Prokofiev research is a clear example of this, since it has been focused either on his early years or on his return to Soviet Russia. His two decades abroad have usually been treated as transitional, unsettled, and of limited significance. This chapter reimagines Prokofiev in Paris, not as a fleeting Russian émigré but as a fixture in Parisian musical life. It assesses both how important Prokofiev was for Paris and how important Paris was for Prokofiev. The materials for
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Kupfer, Peter. "Prokofiev in the Popular Consciousness." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0023.

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Prokofiev’s legacy in the concert hall is well established, but there has been little study of his legacy in the popular consciousness. If we examine the multitude of uses of his music in popular contexts (television programs, television advertisements, film, in the works of other musicians, etc.), what patterns emerge? Which Prokofiev pieces appear most often and to what associative ends? Can viewers even recognize the music as Prokofiev? If not, are there particular stylistic features of Prokofiev’s music that lend themselves to certain kinds of uses? What, in short, is (and has been) the us
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"PROKOFIEV." In Orchestral Masterpieces under the Microscope. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.49.

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"PROKOFIEV." In Orchestral Masterpieces under the Microscope. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.50.

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Steinberg, Michael. "Prokofiev." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0028.

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Abstract Glazunov, the director, received copies of the score specially printed and bound for the occasion. Prokofiev left Russia in the aftermath of the Revolution. He first came to America, then tried living in the Bavarian village of Ettal, and finally, in the early fall of 1923, settled in Paris. His return to his homeland was a slow process, beginning with a visit in 1927 and concluding when he and his family settled in Moscow in 1936. The success particularly of Romeo and Juliet and the Fifth Symphony made him a hero in his old/new country, but it did not protect him from brutal bullying
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Pritchard, Jane. "Staging Prokofiev’s Early Ballets." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0013.

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As a composer for dance, Prokofiev has an international standing in the twentieth century that was second only to Stravinsky. Both composed specific scores for ballet and both have had other works mined by choreographers for new productions. Yet even now Prokofiev’s reputation as a composer for dance rests largely upon just two scores, both for full-program ballets: Romeo and Juliet and Cinderella. In this, Prokofiev differs from Stravinsky. However, it was as a composer of shorter, more experimental pieces—mostly written for Diaghilev’s Ballets Russes—that Prokofiev not only learned his craft
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Ermolaeva, Katya. "Audiovisual Montage in Ivan the Terrible." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0015.

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While new scholarship on Prokofiev and Eisenstein continues to emerge, there has been surprisingly little written about Prokofiev’s film scores as they relate to Eisenstein’s theories on music and sound. Eisenstein considered “sound imagery” to be as important as visual imagery in film, and with the advent of sound film in the late 1920s, he began writing essays on the subject. Many musicologists have expertly discussed Prokofiev’s music in Eisenstein’s films, and film historians have long considered Eisenstein’s theories on sound and how they function generally in his films. Until recently, h
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Kravetz, Nelly, Rita McAllister, and Laura Brown. "Sergei Prokofiev and Levon Atovmian." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0008.

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The name of Levon Atovmian is largely unknown. Yet he was a most important and influential figure in the development of Soviet culture: a musical impresario, company director, bureaucrat, publisher, editor, and arranger, as well as close friend and confidant of many distinguished Soviet composers. His role in Prokofiev’s later life cannot be overestimated. He played a leading, practical part in the composer’s return home in 1936. He promoted the commissioning of some of the most significant of Prokofiev’s later works, and arranged for piano all of his Soviet-period operas, oratorios, and balle
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Taruskin, Richard. "Prokofiev’s Problems—and Ours." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0024.

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The concluding discursive chapter surveys the vicissitudes of Prokofiev’s life and creative career. In particular, it examines the personal and professional tragedy—indeed, the catastrophe—of the composer’s later years, considers the problems Prokofiev faced in setting morally questionable texts, and confronts the dilemma they pose for us as listeners, beguiled by the musical strength and/or beauty of works like the Cantata for the Twentieth Anniversary of the October Revolution, Zdravitsa!, or the film music for Ivan the Terrible, but perhaps unable to ignore their more sinister undertones.
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Conference papers on the topic "Prokofiev"

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SANDU-DEDIU, Valentina. "Nationalistic tendencies and 20th century music – the German case." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0001.

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I belong to a generation of Romanian musicologists educated during the last years of the Communist period, and the idea of balancing historiography and structuralist analysis has been on my mind a lot. I inherited from Romanian historiography clichés such as “the tension between national and universal”, the “transfiguration” of the folkloric source (in avant-garde composition), the “Moldavian Orpheus” etc. Over time, I felt the need to reformulate, nuance, fight such clichés and other previously accepted ideas, and each time I encountered manifestations of nationalism in music. But these are n
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Wang, Siwen. "A Brief Analysis of Prokofiev's Three Later Piano Sonatas." In Proceedings of the 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/ecss-19.2019.70.

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