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Relevant bibliographies by topics / Sergei Prokofiev

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Academic literature on the topic 'Sergei Prokofiev'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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Journal articles on the topic "Sergei Prokofiev"

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Robinson, Harlow. "“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev." Experiment 17, no. 1 (2011): 140–54. http://dx.doi.org/10.1163/221173011x611879.

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Abstract Russian composer Sergei Prokofiev (1891-1953) and Sergei Diaghilev collaborated on three ballets (Chout, Pas d’Acier, Prodigal Son) for the Ballets Russes, and maintained a crucial personal and artistic relationship for fifteen years during a formative period in Prokofiev’s artistic life. This article traces their collaboration on the three ballets, and the production history of each.

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Савкина, Наталия. "Sergei Prokofiev. Relatives." Музыкальная академия, no. 1(774) (June 24, 2021): 28–37. http://dx.doi.org/10.34690/147.

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Обнародованные несколько лет тому назад сведения об арестах близких родственников Прокофьева и о полученных ими тюремных сроках открыли много нового в биографии и личности композитора. Так, стало очевидно, что он был прекрасно осведомлен о массовых репрессиях и жестокой политической цензуре в СССР, когда принимал решение вернуться на родину. Композитор должен был разработать особые авторские стратегии, маневрировать между факторами художественными и требованиями конъюнктуры. Представленные в статье письма шире знакомят с родными композитора; так, они проливают свет на жизнь в первые годы револ

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Emerson, Caryl, and Harlow Robinson. "Sergei Prokofiev: A Biography." Russian Review 47, no. 3 (1988): 323. http://dx.doi.org/10.2307/130594.

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McQuere, Gordon D., and Harlow Robinson. "Sergei Prokofiev: A Biography." Slavic and East European Journal 32, no. 3 (1988): 487. http://dx.doi.org/10.2307/309201.

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Zimmerman, Daniel, Neil Minturn, and Sergei Prokofiev. "The Music of Sergei Prokofiev." Journal of Music Theory 42, no. 1 (1998): 153. http://dx.doi.org/10.2307/843857.

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Morrison, Simon, Harlow Robinson, and Sergei Prokofiev. "Selected Letters of Sergei Prokofiev." Notes 55, no. 3 (1999): 670. http://dx.doi.org/10.2307/900434.

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Beeson, Roger A., and Neil Minturn. "The Music of Sergei Prokofiev." Notes 55, no. 3 (1999): 674. http://dx.doi.org/10.2307/900436.

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Graeme, R. "War and Peace. Sergei Prokofiev." Opera Quarterly 14, no. 1 (1997): 145–48. http://dx.doi.org/10.1093/oq/14.1.145.

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Graeme, R. "The Fiery Angel. Sergei Prokofiev." Opera Quarterly 14, no. 1 (1997): 182–84. http://dx.doi.org/10.1093/oq/14.1.182.

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Wakeling, Dennis W. "War and Peace. Sergei Prokofiev." Opera Quarterly 7, no. 1 (1990): 227–30. http://dx.doi.org/10.1093/oq/7.1.227.

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Dissertations / Theses on the topic "Sergei 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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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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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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Morrison, Simon. "Sergei Prokofiev's Semyon Kotko as a representative example of socialist realism." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26048.

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Shortly after returning to Moscow in 1936, Prokofiev composed his first Soviet opera, Semyon Kotko (Opus 81). The libretto was taken from Valentin Kataev's novel I am a Son of the Working People, a tale of revolution and war in a small Ukrainian village and one that adheres to the tenets of Socialist Realism. Kataev encouraged Prokofiev to set this text in a highly conservative song style. Prokofiev was also influenced in the project by Vsevolod Meyerhold, an innovative artist who advocated using continuous declamation as a means of achieving "dramatic truth" in music.<br>This essay examines t

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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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Erlanson, Ernst. "Varför spelar du som du gör? : En studie om relationen mellan interpretation och förklaringar." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-75429.

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I föreliggande studie undersöks relationen mellan ”förklaringar” och musikalisk interpretation. Mer specifikt frågan varför jag spelar Prokofievs 6:e pianosonat på ett visst sätt. Alla interpreter gör olika val vid förberedelsen och framförandet av ett musikaliskt verk. Många av de valen handlar om tempo, dynamik, frasering men även andra musikaliska parametrar. Denna studie undersöker till vilken grad sådana val går att basera på analytiska ”förklaringar” rörande musikens struktur. Med hjälp av teoretiska perspektiv från Leonard Meyer och Karl Popper undersöker jag ett antal passager som delv

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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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Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.

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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first cha

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Roth, Emily Renee. "An examination of major works for concert band and chamber ensembles: Down a Country Lane by Aaron Copland, Two Pieces from Lieutenant Kije by Sergei Prokofiev, and Suite in B-flat by Richard Strauss." Kansas State University, 2015. http://hdl.handle.net/2097/19089.

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Master of Music<br>Department of Music, Theatre, and Dance<br>Frank C. Tracz<br>The following report is a detailed analysis on the following three pieces: Suite in B-flat by Richard Strauss for woodwind chamber ensemble, Two Pieces from Lieutenant Kije by Sergei Prokofiev for brass and percussion ensemble, and a finally Down a Country Lane by Aaron Copland for concert band. The goal of the analysis is to provide rehearsal information for educational purposes. Aspects of the compositions studied include: background information on the composer and composition, a historical perspective, technical

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Liu, Wenjing. "Prokofiev's Tales of old grandmother, Op. 31: a performance and pedagogical guide." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3132.

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Tales of Old Grandmother, Op. 31 by Prokofiev is based on a fairy tale theme. It can be considered as both a most valuable pedagogical piece for young students and as a piece for the concert repertoire. However, this piece was under-appreciated by most piano performers and piano pedagogues for many years, even though it was praised by several well-known composers and was often played by other pianists and Prokofiev himself. The main aim of this study is to promote the Tales so that they will be performed and taught more often. All of the complex harmonic language, unique unforgettable lyricism

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Books on the topic "Sergei Prokofiev"

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

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

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Sergei Prokofiev: A biography. Viking, 1987.

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Sergei Prokofiev: A biography. Hale, 1987.

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

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The music of Sergei Prokofiev. Yale University Press, 1997.

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Schipperges, Thomas. Prokofiev. Haus, 2003.

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Prokofiev, Sergey. Sergey Prokofiev diaries, 1907-1914: Prodigious youth. Faber and Faber, 2006.

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The piano works of Serge Prokofiev. Scarecrow Press, 1994.

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Nikolovski, Vanja. Behind the Scenes of The Fiery Angel: Prokofiev's Character Reflected in the Opera. Arizona State University, 2018.

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Book chapters on the topic "Sergei Prokofiev"

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Redepenning, Dorothea. "Prokof’ev, Sergej Sergeevič." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_236.

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Redepenning, Dorothea. "Prokof’ev, Sergej Sergeevič." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_35.

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Uehling, Peter. "Sergej Sergejewitsch Prokofjew." In Kammermusikführer. J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_96.

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Wehrmeyer, Andreas. "Sergej Prokof’evs Rückkehr aus der Emigration." In Musik zwischen Emigration und Stalinismus. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02920-1_12.

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"Sergei Prokofiev." In Masterworks of 20th-Century Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-24.

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"SERGEI PROKOFIEV." In The Opera Lovers Companion. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-048.

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"SERGEI PROKOFIEV." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.46.

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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 ballets. He and Prokofiev exchanged an extensive professional and increasingly personal correspondence for over twenty years. The chapter is based on unique materials, including his memoirs, given to the author by Atovmian’s daughter. It explores their correspondence, and reveals the circumstances surrounding the discovery of Atovmian’s arrangement of an oratorio based on Prokofiev’s music for Ivan the Terrible.

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"Sergei Prokofiev (1891–1953)." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-044.

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Guillaumier, Christina. "Drama, Theater, and Gesture in the Operas of Sergei Prokofiev." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0014.

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This chapter explores Prokofiev’s processes, compositional strategies, and theatrical instinct as evident in his operatic works. Each of the eight operas discussed tells a different story about Prokofiev’s context, aesthetic, and compositional procedures; in each, he explores different musical, dramaturgical, and artistic possibilities. While the soundscapes of the earlier operas are different from those of his Soviet period, his musical voice remains distinctive. He was passionate about the stage and had much to say about opera in the twentieth century, but his innovative and radical ideas were often obscured by political and social contexts. Prokofiev’s operatic vision centered on characterization, visualization, and textual emancipation. His most significant contribution to the twentieth century’s operatic stage was dramatic realism, based on what he called “theatrical rhythm,” with his use of declamation to replace set pieces and ensembles.

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