Relevant bibliographies by topics / Rimsky-Korsakov

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  2. Dissertations / Theses
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Academic literature on the topic 'Rimsky-Korsakov'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Rimsky-Korsakov"

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Spitzer, Michael. "Rimsky-Korsakov." Nineteenth-Century Music Review 4, no. 1 (June 2007): 164–66. http://dx.doi.org/10.1017/s1479409800000215.

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Davis, Richard Beattie. "Rimsky-Korsakov in Reproduction." Musical Times 132, no. 1778 (April 1991): 178. http://dx.doi.org/10.2307/966128.

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Pines, R. "Sadko. Nikolai Rimsky-Korsakov." Opera Quarterly 12, no. 3 (January 1, 1996): 118–20. http://dx.doi.org/10.1093/oq/12.3.118.

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Roseberry, Eric, Sveshnikov Academic Russian Choir, and Andrey Chistiakov. "Rimsky-Korsakov: The Tsar's Bride." Musical Times 134, no. 1804 (June 1993): 348. http://dx.doi.org/10.2307/1003074.

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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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Taruskin, Richard. "Catching Up with Rimsky-Korsakov." Music Theory Spectrum 33, no. 2 (October 2011): 169–85. http://dx.doi.org/10.1525/mts.2011.33.2.169.

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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 (December 27, 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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Graeme, R. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 13, no. 4 (January 1, 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 (January 1, 2001): 154–57. http://dx.doi.org/10.1093/oq/17.1.154.

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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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Dissertations / Theses on the topic "Rimsky-Korsakov"

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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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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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Merlino, Shannon M. "Adoration, Appropriation, or Approximation? Rethinking the Exotic in Western Music." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/548419.

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Music Performance
D.M.A.
Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works.
Temple University--Theses
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Saarinen, Margaret. "An examination of works for band : Fortress variants by Elliot Del Borgo, Reflections by James Swearingen, Equinox by Ed Huckeby, and Procession of the nobles (Rimsky-Korsakov) arranged by Andrew Balent." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/971.

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Green, James Matthew. "The History and Usage of the Tuba in Russia." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.

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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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Ferreira, Susana Milena. "Poesia de A. K. Tolstoy em duas abordagens para canto e piano." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.

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Mestrado em Música
Neste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.
In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.
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Books on the topic "Rimsky-Korsakov"

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Yastrebtsev, V. V. Reminiscences of Rimsky-Korsakov. New York: Columbia University Press, 1985.

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I͡Astrebt͡sev, V. V. Reminiscences of Rimsky-Korsakov. New York: Columbia University Press, 1985.

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

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

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Muir, Stephen Phillip Katongo. The operas of N. A. Rimsky-Korsakov from 1897 to 1904. Birmingham: University of Birmingham, 2000.

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Griffiths, Steven. A critical study of the music of Rimsky-Korsakov, 1844-1890. New York: Garland, 1989.

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1904-, Abraham Gerald, ed. The New Grove Russian masters 2: Rimsky-Korsakov, Skryabin, Rakhmaninov, Prokofiev, Shostakovich. New York: W.W. Norton, 1986.

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1880-1964, Van Vechten Carl, ed. My musical life. London: Faber and Faber, 1989.

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

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Book chapters on the topic "Rimsky-Korsakov"

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"Rimsky-Korsakov." In Russians on Russian Music, 1880–1917, 42–91. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481901.004.

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"RIMSKY-KORSAKOV." In Orchestral Masterpieces under the Microscope, 390–93. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.59.

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"RIMSKY-KORSAKOV." In Orchestral Masterpieces under the Microscope, 387–89. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.58.

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"NIKOLAI RIMSKY-KORSAKOV." In The Opera Lover’s Companion, 360–63. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-052.

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"NIKOLAI RIMSKY-KORSAKOV." In The Classical Music Lover's Companion to Orchestral Music, 632–36. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.49.

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"The Professor and the Sea Princess: Letters of Nikolai Rimsky-Korsakov and Nadezhda Zabela-Vrubel." In Rimsky-Korsakov and His World, edited by Marina Frolova-Walker, translated by Jonathan Walker, 3–60. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0001.

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This introductory chapter examines the rich correspondence between Nikolai Rimsky-Korsakov and the soprano Nadezhda Zabela-Vrubel, who was his muse between 1898 and 1904. This particular correspondence stands apart from the rest because of the strong currents of emotion running just below the surface. It was selected for this volume for two purposes: it has much to tell about how Rimsky-Korsakov dealt with the performers and theater management involved in productions of his operas, but it also gives a unique insight into the composer's inner world which he kept hidden under the surface of his respectable professorial existence. Indeed, the correspondence between Rimsky-Korsakov and Zabela-Vrubel should do much to humanize Rimsky-Korsakov, softening his image.
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Botstein, Leon. "In Search of Beauty: Autocracy, Music, and Painting in Rimsky-Korsakov’s Russia." In Rimsky-Korsakov and His World, 301–54. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182711.003.0010.

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This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels between the development of Russian music and Russian painting. Lyricism and poetic beauty defined great music for Rimsky-Korsakov. Music—and all art—was, in the end, about beauty. By the mid-1890s, beauty as Rimsky-Korsakov understood it seemed out of fashion. He hoped that future generations would rediscover classicist aesthetics, but he feared the historic inevitability of a progressive “degeneration” in the arts. Nevertheless, his project was to strengthen the role of music in Russia and assert its value as art. This required finding the right accommodation with the Russian state and the monarchy. Ultimately, it led Rimsky on a career that paralleled and intersected with developments in Russian painting and with the work of Russia's leading visual artists.
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Frey, Emily. "Rimsky-Korsakov, Snegurochka, and Populism." In Rimsky-Korsakov and His World, 63–96. 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, 249–75. 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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Taruskin, Richard. "Catching Up with Rimsky-Korsakov." In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0005.

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A recounting of the history of that strain of Stravinsky research and analysis that originated in the west with Arthur Berger’s discovery and naming of the octatonic scale in 1963, and what happened to that theory when it was linked to an indigenous Russian (i.e., St. Petersburg) tradition associated with Stravinsky’s teacher, Nikolai Rimsky-Korsakov. The ensuing controversies illuminate the sociology of knowledge production in the realm of music theory. The essay ends by proposing criteria whereby theoretical and analytical perceptions may be tested.
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Conference papers on the topic "Rimsky-Korsakov"

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ZHANG, Huan-Hao. "Analysis of the Third Movement of lScheherazaderby Rimsky-Korsakov." In 2018 4th Annual International Conference on Modern Education and Social Science (MESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/mess-18.2018.60.

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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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