Relevant bibliographies by topics / Russian Part songs

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Academic literature on the topic 'Russian Part songs'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Russian Part songs"

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Amelina, I. O. "Development of students’ sociocultural competence with the use of war-themed songs." Proceedings of the Southwest State University. Series: Linguistics and Pedagogy 14, no. 4 (2025): 31–43. https://doi.org/10.21869/2223-151x-2024-14-4-31-43.

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The article is devoted to the features of working with the material of war-themed songs for the purpose of developing sociocultural competence in the context of teaching Russian to foreigners.The relevance of the study is determined by the need to consider the issues of using war-themed songs for the development of sociocultural competence, which meets the guidelines of modern methods of teaching Russian as a foreign language to master the language in the context of a dialogue of cultures, as well as to form a positive image of Russia in the minds of foreigners.The purpose of the work is to re
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Bashirova, Nigar. "TEACHING RUSSIAN TO MILITARY PERSONNEL TROUGH PATRIOTIC SONGS LYRICS." History of Science 6, no. 1 (2025): 62–70. https://doi.org/10.33864/2790-0037.2025.v6.i1.62-70.

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The role of vocal songs in developing and formatting of normative and communicative aspects in culture of speech as well as problems of understanding of grammar and lexis materials by second language learners are enlightened in the article. Music and songs are key points in the methodological chain in teaching process of Russian for foreigners. The proved argumentations of importance in familiarization with the military history of the target country by the help of songs are introduced in the article. Enormous attention on developing and establishing the norms of cultural speech is emphasized.
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Semen, Natalia. "MODERN RUSSIAN MUSIC AS A TOOL FOR THE SPREAD OF PRO-RUSSIAN NARRATIVES: FEATURES AND WAYS OF COUNTERACTION FROM UKRAINE." Bulletin of Lviv Polytechnic National University: journalism 2, no. 8 (2024): 65–70. http://dx.doi.org/10.23939/sjs2024.02.065.

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Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it i
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Belodedova, Margarita G. "“HERE MALO GREW UP, AND HERE HE HUNTS AND FISHES”: FUNCTIONS OF NENETS NYUKUBTS SONGS." Folklore: structure, typology, semiotics 7, no. 3 (2024): 10–32. http://dx.doi.org/10.28995/2658-5294-2024-7-3-10-32.

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Nyukubts songs are a Nenets genre that is often compared to lullaby songs, in particular, to the lullaby of the Russian tradition. These genres can be compared, in particular, due to their belonging to both maternal and children’s folklore – both lullabies and nyukubts songs can be sung by adults for young children and by children themselves for their younger siblings. Despite their frequent comparison, however, these genres have quite marked differences, the most important of which are evident in the contexts in which they are performed. The most important (but not the only) function of lulla
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Kozlova, Irina, and Elena Levochskaya. "“I Felt Frightened and Then I Started Singing”: Songs at Russian Protest Actions." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 27 (December 18, 2023): 51–80. http://dx.doi.org/10.17161/folklorica.v27i.21550.

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This article explores the role of songs in Russian protests. Data are drawn from ethnographic observations made at protests held between 2015 and 2022, mostly in Moscow and St. Petersburg, as part of the project, “Monitoring Contemporary Folklore,” based at the Russian Presidential Academy of National Economy and Public Administration. The authors consider materials from 240 protests. Viewing protests as an act of communication, the article analyzes the circumstances for song performances and suggests a hypothesis for songs’ communicative goals. The article additionally demonstrates how song c
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Zhurkova, Daria A. "Soundtrack’s Genre Patterns of the Russian Retro-series about Soviet Pop Artists." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 37–55. http://dx.doi.org/10.37816/2073-9567-2023-69-37-55.

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Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original,
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Pilnikova, A. Yu. "An Analysis of Musical Texts in the Song Tradition of Tsar’s Coachmen." Issues of National Literature, no. 4 (December 24, 2024): 88–99. https://doi.org/10.25587/2782-6635-2024-4-88-99.

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This article analyzes the texts of the song tradition of the Tsar’s coachmen as a unique phenomenon of Russian folk culture. The relevance of the study stems from the need to preserve intangible cultural heritage, particularly song traditions that reflect the historical, social, and aesthetic features of 18th–19th century Russian life in the Republic of Sakha. The song texts of this tradition, combining musical and literary elements, played a significant role in the working and emotional lives of the coachmen but remain underexplored. The analysis of the musical components of these songs offer
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Orlitsky, Yu B. "Siberian Free Verse of the 1920s – 1930s: General and Special in a New Poetic Form." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 129–55. http://dx.doi.org/10.25205/2410-7883-2020-2-129-155.

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Since the beginning of the twentieth century, free verse (vers libre) begins an active penetration into Russian poetry, decisively moving from the category of a marginal poetic phenomenon into the most active forms of national verse. Since the end of the 1910s Russian free verse also appears in the thriving Siberian poetry. First of all, this occurs in the works of authors who work with verse in line with the main currents of the general Russian poetic tradition – relatively speaking, among the Siberian futurists, acmeists, and imagists. The article examines the process of the emergence of fre
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.

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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New
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Ursegova, Natalia A. "WEDDING MUSICAL AND POETIC FOLKLORE OF RUSSIAN POPULATION OF THE SOUTHERN URAL." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 258–67. http://dx.doi.org/10.37816/2073-9567-2020-58-258-267.

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The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing a
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Books on the topic "Russian Part songs"

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RUSHWORTH, JENNIFER, HANNAH SCOTT, and BARRY IFE, eds. SONG IN THE NOVEL. British AcademyLondon, 2024. http://dx.doi.org/10.5871/bacad/9780197267745.001.0001.

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Abstract This volume investigates the variety of types of songs present in novels, from French romances, ballads, folk songs, opera, and opéra-comique, to café-concert music, blues and jazz, and more recent popular music. Contributions from literary scholars, musicologists, and cultural historians analyse novels written in a range of languages, including English, French, Italian, Russian, and Spanish. The volume explores the way that songs can be present in novels, from the inclusion of musical scores to broader practices of citation and allusion. It interrogates the function of song in the no
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Shakespeare, William. Shakespeare's Sonnets Reconsidered: And in Part Rearranged With Introductory Chapters, Notes, and a Reprint of the Original 1609 Edition. Ams Pr Inc, 1987.

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Freedman, Leonard. The Offensive Art. Praeger, 2008. http://dx.doi.org/10.5040/9798400692765.

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The Offensive Artis an arch and sometimes caustic look at the art of political satire as practiced in democratic, monarchical, and authoritarian societies around the world over the past century-together with the efforts by governmental, religious, and corporate authorities to suppress it by censorship, intimidation, policy, and fatwa. Examples are drawn from the full spectrum of satiric genres, including novels, plays, verse, songs, essays, cartoons, cabarets and revues, movies, television, and the Internet. The multicultural and multimedia breadth and historical depth of Freedman's comparativ
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Johansen, Bruce, and Adebowale Akande, eds. Nationalism: Past as Prologue. Nova Science Publishers, Inc., 2021. http://dx.doi.org/10.52305/aief3847.

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Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living t
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Book chapters on the topic "Russian Part songs"

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Bullock, Philip Ross. "The German Roots of Russian Orientalism: Hafiz’s Poetry in Early-20th-Century Russian Song." In Song Beyond the Nation. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0004.

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The Russian arts were as fascinated by exotic languages, cultures, and locales as their Western European counterparts, and at first glance, Russian settings of the poetry of Hafiz appears to form part of the broader field of musical exoticism in general, and Russian orientalism in particular. This chapter begins by examining the relationship between empire and music, before setting out a rather different account of Russian musical orientalism, one marked by a complex transnational flow of literary and musical influences, as well as practices of translation, imitation, cultural appropriation, a
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Toporkov, Andrey. "The Mythical “Belsky’s Manuscript” as a Hoax of I.P. Sakharov." In Hoax in Slavic Cultures: Poetics and Practices. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/7576-0480-0.15.

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Ivan Petrovich Sakharov (1807-1863) was one of the most famous publishers of folklore in Russia in the 1830s-1840s. With references to the manuscript, which was allegedly kept in Tula by the merchant Belsky, he published epics and fairy tales in his publications Songs of the Russian people, Tales of the Russian people and Tales of the Russian people about the family life of their ancestors. P. A. Bessonov, and after him A. N. Pypin and other researchers established that the Belsky's manuscript had in factnever existed, and Sakharov's reports about it had been a literary hoax. Nevertheless, so
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Gavryushina, Lidia K. "Spiritual poems in the Russian and Slavic tradition." In Materials for the virtual Museum of Slavic Cultures. Issue II. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0440-4.7.

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Spiritual verses are a genre associated with an oral folk tradition, and they are often found in written form as part of handwritten spiritual verse collections, which were often accompanied by Russian “hook” notation. In Russian and Slavic folklore, they relate in content and style to church liturgy books and occupy a middle ground between such writings and folklore. Russian spiritual verses arose, most probably, back in the pre-Mongol period. Designed to support the spirit of piety in people, in the past they were performed by travelling singers, so-called “kaliki perehozhiye“. The Old Belie
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Yakubov, Manashir. "Shostakovich’s Anti-Formalist Rayok." In Shostakovich in Context. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166665.003.0009.

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Abstract The originality of the Anti-Formalist Rayok should be assessed not only from the point of view of its place within Shostakovich’s legacy, but in the context of the broad traditions of satire in Russian culture. Russian musical satire is an organic and deeply original part of Russia’s spiritual culture. It is a legacy that is a thousand years old, and one that continues to thrive today: from the crude Slwmorokhi lampoons of the tenth to seventeenth centuries to the obscene modern-day chastushki about Khrushchev, Brezhnev, and Gorbachev and the political songs of Galich and Vysotsky: fr
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Kuznetsova, Ekaterina V. "Poetosphere and mythopoetics of the estate in A.A. Blok’s dramatic poem “Song of Fate”." In Russian Estate in the World Context. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-186-205.

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As it noted by the researchers, the “Song of fate” accumulates painful thoughts of A.A. Blok about the fate of Russia and about his personal fate associat ed with the past, present and future of the Motherland. In addition to the ideological problems raised in it, the poem is interesting in an attempt to escape from the specifics of historical and national-cultural realities through their symbolization, combining the plans of life and being. The white house with a garden on the hill, in which the action of the play begins and the return to which is implied at the end, incorporates the most imp
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BULLOCK, PHILIP ROSS. "‘Extraordinary how potent cheap music is’: Memory, Nostalgia, and Affect in Gaito Gazdanov’s An Evening with Claire." In SONG IN THE NOVEL. British AcademyLondon, 2024. http://dx.doi.org/10.5871/bacad/9780197267745.003.0009.

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Abstract The first part of this chapter sets out the historical context of ‘Russia Abroad’ after the October Revolution, highlighting both the need to consider music as well as literature in this period and the ambivalent attitude of Russian émigrés towards popular culture. Against this conflicted backdrop, the second part of the chapter turns to the émigré writer Gaito Gazdanov and to his first novel Vecher u Kler (An Evening with Claire), published in 1930. Via discussion of the novel’s quotation of a popular 1920s French song, sung by the maid of the eponymous Claire, the chapter concludes
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"Justice of the Rus." In Milestone Documents in World History. Schlager Group Inc., 2024. https://doi.org/10.3735/9781961844056.book-part-042.

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The Russkaia Pravda, or Justice of the Rus, was the secular law code of Kievan Rus, the medieval ancestor state to both modern-day Russia and Ukraine. The law code was written over an extended period and by several authors. The core document is attributed to Yaroslav, “the Wise,” grand prince of Kiev from 1019 to 1054. Debate exists as to whether the code was first compiled during this reign or slightly earlier, when Yaroslav was ruler of the Rus city-state Novgorod— that is, when he was a provincial ruler rather than the grand prince. Additions and revisions followed, the most important of wh
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Bullock, Philip Ross. "Tchaikovsky’s Songs: Music as Poetry." In The Edinburgh Companion to Literature and Music. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0049.

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Realism, as the prevailing aesthetic in mid-nineteenth-century Russia, shaped the artistic practice of even those artists who may not have seen themselves as realists. In this regard, the case of Tchaikovsky is particularly instructive. Tchaikovsky’s songs enjoyed considerable popularity; however, César Cui, for example, denounced them for failing to respect the literary values of the words they set. Tchaikovsky’s views about the ability of music to access a form of truth that lay beyond verbal language might suggest a belief in the fundamental primacy of music over text. His songs play a cruc
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Pollock, Ethan. "Introduction." In Without the Banya We Would Perish. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195395488.003.0001.

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For over a thousand years the banya has been a crucial institution to a wide variety of people: men and women, rich and poor, straight and gay, religious and atheist. The omnipresence of the banya makes it a lens through which to view many aspects of Russia history—hygiene, intimacy, sociability, the relationship of Russia to the West. The banya is full of contradictions. It can clean bodies and spread disease. It can purify and befoul. It can create community and provide a means of excluding others. The argument is based on thousands of sources ranging from archival documents and municipal re
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Smith, Alexandra. "Adapting Turgenev’s Novel as a Pastorale: Avdotya Smirnova’s Fathers and Sons." In Film Adaptations of Russian Classics. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474499132.003.0003.

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Ivan Turgenev’s novel Fathers and Sons has been adapted into five films and a four-part television series produced by Avdotya Smirnova in 2008. The chapter applies the concept of ‘communicative space’ developed in the works of Boris Gasparov and Yuri Lotman to Smirnova’s adaptation of Fathers and Sons. Smirnova moves away from the Soviet vision of the novel. She sees the novel as a family chronicle: ‘Turgenev’s novel is not political, as is commonly believed, but antipolitical’. The chapter analyses Smirnova’s attempt to bring Turgenev’s novel closer to the post-Soviet audience by creating a n
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Conference papers on the topic "Russian Part songs"

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Prevlovšek, Anita. "Music in the Life and Literary Works of Anton Pavlovich Chekhov." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.ii20.

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The purpose of the article is to present, with reference to a number of his stories and plays, the part played by music in Chekhov's works, which contain many borrowings from folk songs, Russian romances and classical music. The heroes of his works sing arias from operas, playing and singing the works of Russian and foreign composers. There are many extracts from the works of Tchaikovsky, with whom the writer enjoyed a relationship marked by mutual respect and friendship. Music in Chekhov's literary works embraces the whole of human life, covering a wide variety of emotions and situa-tions des
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Fedorchuk, Evgenia. "SONGS AND POEMS OF PARTISANS WRITTEN BEHIND ENEMY LINES. SMOLENSCHINA - BELARUS, 1942-1944 (FROM THE FOUNDATIONS OF THE BYKHOV MUSEUM OF LOCAL HISTORY)." In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3638.khmelita-19/160-174.

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This report discusses a collection of songs and poems written by partisans behind enemy lines. The book contains 58 works. The compiler divided it into six parts. The first two parts are devoted to major events and phenomena as such: namely the Thirteen Special Partisan Regiment and the Bovkin blockade. The remaining four parts are more personalized: the partisan routine and way of life are described, some of the poems are written in memory of the dead, as well as various local events. In addition to poems and songs, a number of personalities (authors and those mentioned), events and locations
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Markov, A. "SYNTHETIC TEXT: TO THE PROBLEM OF DIFFERENTIATION OF THE PHENOMENON OF SONG POETRY." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3763.rus_lit_20-21/371-381.

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The article treats the song text as a kind of synthetic text. The intermediate nature of the object of study gives rise to difficulties associated with the need for an interdisciplinary approach to its study. Author's and bard's song, rock poetry and rap poetry - these and adjacent types of combining music and text cannot be described and classified using the available tools. The interaction of music and text, the peculiarities of performance, the variability of song texts - all these complicates the research task. An attempt to resolve the terminological confusion that aroses almost simultane
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Svitak, Frantisek, Karel Svoboda, and Josef Podlaha. "Research Reactor Spent Nuclear Fuel Shipment From the Czech Republic to the Russian Federation." In ASME 2009 12th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2009. http://dx.doi.org/10.1115/icem2009-16195.

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In May 2004, the Global Threat Reduction Initiative agreement was signed by the governments of the United States and the Russian Federation. The goal of this initiative is to minimize, in cooperation with the International Atomic Energy Agency (IAEA) in Vienna, the existing threat of misuse of nuclear and radioactive materials for terrorist purposes, particularly highly enriched uranium (HEU), fresh and spent nuclear fuel (SNF), and plutonium, which have been stored in a number of countries. Within the framework of the initiative, HEU materials and SNF from research reactors of Russian origin
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