Dissertations / Theses on the topic 'Sofia Gubaidulina'

This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.

Sobornost is an aspect of the symbolism surrounding Russia's Orthodox religious rites. Its primary use in religious texts was to describe such gatherings in which the authority of God was invoked upon all communal activities. Sobornost emerges as a critical thread running through Russian musical culture. It was introduced into music by Alexander Skriabin, appropriated by the first modernist avant-garde in the later 1910s and 20s, and then reinterpreted at critical stages in the development of later Russian music. The aim of presenting this historical trajectory is to contextualise the 'second avant-garde' that developed during the 1970s, and to acknowledge Skriabin and the early avant-garde as consequential in the evolution of the later ' transcendental style.' Skriabin, similar to the ' Mystics' symbolist movement, attached metaphysical significance to the concept of the' artist as a creative vessel' which, as is the case with Nikolai Berdiaev's (1874-1948) ' ethics of creativity' , affirms the value of the unique and the individual. The desire to establish a thread that links sobornost - unity - and the indi vidual approach to the compositional process fOlms an impoliant part of this study. Exploring the different developments within the fragmented evolution of twentiethcentury Russian composition is integral in this context. Cultural and religious afterimages became the initial attraction and stimulus for the formation of new music that developed at the margins of the Soviet Union's 'official' concert life. Sobornost as expressed within the ritual of the Olihodox liturgy bears similarities with the 'transcendental idiom' that evolved from the second avant-garde during the 1970s. This transcendental idiom is at once a celebration of time and of eschatological reality; an anticipation of the 'world to come', as well as nostalgic of a concrete historical past. Several of Sofia Gubaidulina's pieces have the tendency to transcend the purely musical in favour of the symbolic, and often connote a ritual action; even their structures refer to something extra-musically religious, such as the cross, crucifixion, resurrection and transfiguration. In this context, Gubaidulina's music is presented as a case study to examine the changing role of sobornost in twentiethcentury Russian music. Significant works are used as exemplars of this larger pattern of historical interpretation.

Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronics music. Gubaidulina's Piano Sonata sums up the composer's thinking within her piano music, and at the same time projects the development of her spiritual vision within other genres that are to come. The analytical approach in this paper is based on the correlation between each of the elements of the musical material (form, rhythm, sound, etc.) and its contextual meaning in terms of musical dramaturgy. Set-theory is applied to the analysis of motivic components of the work. The traditional form is just the basis for the original intonational structure within a modern musical idiom. Varieties of rhythmic patterns, as well as an unconventional sound production, make this work breath with an impetuous power. The examination of the Sonata's musical language and content should give some insight not only into Guabaidulina's piano music, but also into a consequent development of her compositional thinking.

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed Oct. 10, 2006). Includes abstract. Keywords: conductor's guide; Sofia Gubaidulina; St. John Passion; Passion 2000 project; Choral. Includes bibliographical references.

Thesis (Master of Music)--University of Cincinnati, 2007.<br>Advisor: Dr. Catherine Losada. Title from electronic thesis title page (viewed Nov. 29, 2007). Includes abstract. Includes bibliographical references.

博士<br>國立臺灣師範大學<br>音樂學系<br>105<br>Sofia Gubaidulina is considered to be one of the most significant Russian female composers in 20th century. Her music is not only well constructed but full of sensibility and creativity. Her works were once regarded as "incorrect" by the Soviet Union regime. Encouraged by Maestro Shostakovich, Gubaidulina didn’t worry about the stress continued composing with her initial passion and endeavor. Due to the support of Gidon Kremer and his successful world premiere of Gubaidulina’s violin concerto Offertorium in Vienna 1981, she was finally able to showcase her talent to the world and to build up her career. This dissertation focus on the structure and interpretation of her three major piano works：Chaconne, Sonata, and Musical Toys. In the first and second chapters, the author describes the background of her childhood and her educational process. In the last three chapters, the dissertation concentrates on the comprehensive study and interpretation of these three piano works. With this study, the author hopes to expose the public to many amazing works by this distinguished female composer.

L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale. Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi. Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique. Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés. Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique. La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique.<br>This paper explores the musico-theological dialogue through the study of Sofia Gubaidulina's violin concerto, Offertorium. Its aim is to understand how theological belief and worldview have influenced and contributed to Offertorium's composition, and in consequence, how the concerto serves as an interpretive conductor of theological thought. To support this idea, the intertextual method developed by Heidi Epstein is employed, which aids not only the interdisciplinary approach, but also a theological analysis of a musical work. Chapter One explores the sources, questions and problematic concerning musico-theological dialogues. It concludes that for studying Offertorium, a balanced approach was in order, one that took into consideration theological reflection as much as musicological research, and that respected the music's theological contributions in its own right. Chapter Two attempts an analysis of Offertorium and a study of the composer's discourse on matters of theology, religion and spirituality. It is concluded that Gubaidulina's background in Russian Orthodoxy has deeply influenced her worldview and artistic approach. Many Orthodox theological and liturgical themes and symbols are present structurally or thematically in the concerto. Chapter Three explores the parallels between the composer's ideas and the writings of several contemporary Russian Orthodox theologians. It concludes that while it is improbable that Gubaidulina is familiar with these writers, hers is a worldview that has emerged from the experience of a Russian Orthodox climate which explains the similarities and complementarities between her work and the work of the discussed authors. Chapter Four evaluates the validity of Offertorium as a means of theological expression, but also as the producer of original theological thought. It concludes that both are possible, rendering Offertorium its own theological ground. The conclusion of the study is that a musical work such as Offertorium can be a “theological ground”. This entails that theological ideas in this case are communicated through experience (experiencing sound, melody and musical ambiance) and not through traditional means of textbook or sermon. This also insinuates that music can be an equal, albeit entirely different, player in the theological dialogue.

abstract: Sofia Gubaidulina’s Dancer on a Tightrope (Der Seiltänzer, 1993) for violin and piano is an excellent example of the sonic capabilities of both instruments. To convey the balance and uncertainty of a circus act, Gubaidulina makes ample use of rhythmic variation, flexible melodic gestures, compound meters, dissonance, and indeterminacy in notation of musical time. Due to the intricate nature of both parts, this can be a difficult work to perform accurately. This paper is an accompanying document to the score to explain notations, suggest performance techniques for both instruments, and provide a thorough analysis of the complete work. Students of Gubaidulina’s music can find numerous studies detailing her biography as a Soviet and post-Soviet composer. There are many dissertations on her string works, including the string quartets and string trio. However, there is no performer’s guide or existing study that would provide insight to Dancer. Most of the existing literature on Gubaidulina is not based on sketches but relies on analysis of published sources. In researching this document, I drew upon the manuscript collection for Dancer on a Tightrope housed at the Paul Sacher archives in Basel, Switzerland. I compare sketches with the published score and analyze the work’s structure, melodic aspects, harmony, timbre, and practical applications of the extended notation. I will also compare Dancer on a Tightrope to Gubaidulina’s works from the same period, violin writing, and other chamber music. Many of the rhythmic and pitch ambiguities in the published score will be clarified by a sketch study of the piece. For assistance with piano notation and performance, I suggest techniques for the most careful way to play inside the instrument to avoid damage. I contextualize Gubaidulina within a Soviet and international context. It is essential to view her work within a broader twentieth-century framework, her life as a composer in the USSR, and in light of broader socio-political trends. Gubaidulina is one of the foremost Soviet composers who has earned international recognition. This performer’s guide will advance and encourage performances of Dancer on a Tightrope and help disseminate knowledge about this work.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2017

Thesis (M.A.)--University of California, Santa Cruz, 2004.<br>Typescript. Includes 2 compact discs titled "Corinne Arnaud, conducting", and program for Corinne Arnaud's graduate recital conducting "Entre eux deux : a conversation between Baroque and modern", April 9, 2004, in the Music Center Recital Hall, UC Santa Cruz. Includes bibliographical references (leaves 58-59).

Entender los nuevos discursos que la música fue tomando a partir del siglo XX ha sido uno de los trayectos que recorrí durante la carrera de Licenciatura en Perfeccionamiento Instrumental en Viola, brindado por las materias teóricas en primera instancia, y por las instrumentales a medida que progresaba en nivel técnico y musical. Extender a la Viola estos conocimientos y poder plasmarlos en papel son los fundamentos del presente trabajo escrito. Situé la temática de mi Trabajo Final en el posromanticismo inglés por la tendencia estilística predominante en las obras seleccionadas. Además, esta época y lugares clave son escenarios de un cambio paradigmático en la visión funcional de la Viola, ya que representan no sólo el cambio de pensamiento acerca de las posibilidades técnicas del instrumento en sí, sino el cómo generar una transformación interpretativa integral a partir de las nuevas propuestas compositivas.<br>Fil: Gallello, Daniel David. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Música; Argentina.