Relevant bibliographies by topics / Taneyev's

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

Academic literature on the topic 'Taneyev's'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Taneyev's"

1

Belina, Anastasia. "Representation of Clytemnestra and Cassandra in Taneyev's Oresteia." Studies in Musical Theatre 2, no. 1 (June 5, 2008): 61–81. http://dx.doi.org/10.1386/smt.2.1.61_1.

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Приходько, И. М. "Theory of Imitation in a Historical Context." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 8–25. http://dx.doi.org/10.26156/om.2020.12.5.001.

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Теория имитации создавалась Танеевым в определенном историческом контексте и опиралась на методологические принципы современного ему гуманитарного знания. Со времени публикации «Учения о каноне» прошло почти сто лет, на протяжении которых идеи Танеева остаются незыблемым фундаментом отечественной теории имитации. Однако методология гуманитарного знания претерпела существенные изменения. Оно уже не оперирует «вечными формами», поскольку понятно, что в культуре нет ничего похожего на физические константы. Действие универсальных принципов музыкальной организации опосредовано историческими условиями. Имитация реализует универсальный принцип повторения в разных исторических формах. Первоначально имитация была орнаментальной, изредка вплетаясь в полифоническую ткань. Канон же был широко распространенной техникой письма. Затем имитация примерно на полтора века стала ведущим фактором формообразования и сблизилась с каноном. Позднее, одновременно с возрастанием роли подвижного контрапункта, значение имитации вновь уменьшилось. Менялся и мелодический синтаксис. В период расцвета имитационной техники мелодическая линия развертывалась непрерывно, цезуры были малозаметными и распределялись неравномерно. Под влиянием изменений метроритмической организации в мелодиях появились более глубокие регулярные цезуры. Это позволяет при анализе имитационной полифонии эпохи барокко членить мелодию на отделы, однако при анализе полифонии строгого письма такое членение представляется искусственным. Современная методология требует обозначить границы, за которыми теория утрачивает объяснительные возможности. Отсюда вытекает необходимость переосмыслить некоторые положения танеевской теории. The theory of imitation was created by Sergey I. Taneyev in a certain historical context and was based on the methodological principles of contemporaneous humanities. Almost a hundred years have passed since the publication of “The Teaching on The Canon”, and throughout this time, Taneyev’s ideas remain the unshakable foundation of the domestic theory of imitation. However, the methodology of the humanities has undergone significant changes — particularly in the aspect of the relationship between theoretical and historical knowledge. Also, analysis and description prevail over prescriptions in present-day musicology. Therefore it is reasonable to reconsider some aspects of Taneyev’s theory. Modern musicologists understand that music does not have anything like fundamental and unchangeable physical constants. Accordingly, there are no “eternal forms” in music. There are some general principles of musical organization, similar to linguistic universals, but they are implemented in multiple ways on different levels under different historical/ stylistic conditions. The principle of repetition is realized through transmission of a melodic phrase from one voice part to another — that is, through imitation. Forms of imitation depend on how melodic phrases are built — that is, on the features of the melodic syntax. In the vocal polyphony of the 16th century, the flow of the melody is uninterrupted; caesuras are irregular and shallow, whereas in the instrumental polyphony of the 18th century they divide melody into commensurable sections. This difference affects the way in which imitation is used in these styles.
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Rogachyova, Yulia M. "Concerning the Issue of Interpretation of Sergei Taneyev’s Choral Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (2016): 80–84. http://dx.doi.org/10.17674/1997-0854.2016.3.080-084.

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Foreman, Lewis. "London, Barbican: Taneyev Mini-Fest." Tempo 59, no. 234 (September 21, 2005): 46–47. http://dx.doi.org/10.1017/s0040298205300301.

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The Russian National Orchestra and Moscow State Chamber Choir conducted by Mikhail Pletnev presented two unusually distinctive concerts at London's Barbican Hall at the end of March,3 starting with John of Damascus of 1884 – Taneyev called it Cantata No 1 – and ending the following evening with his tumultuous Cantata No 2, On the Reading of a Psalm (Po prochtenii psalma), from 30 years later. Although not claimed as such, the latter was surely a British première: not even that champion of the choral festival, Sir Henry Wood, seems to have done it.
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Korolevskaya, Natalia V. "The Intertextual Conception of Sergei Taneyev’s “Oresteia”: In Search for the Author’s Meaning." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2019): 36–45. http://dx.doi.org/10.17674/1997-0854.2019.4.036-045.

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Ганенко, Н. С., and Т. А. Зайцева. "On the History of the Creation of Works by Sergei Taneyev for the Magazine “Zakholustye”." Музыкальная академия, no. 3(767) (September 20, 2019): 122–37. http://dx.doi.org/10.34690/06.

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В статье впервые рассмотрена история создания произведений С. И. Танеева, написанных специально для любительского журнала «Захолустье» (1876-1889). Из 46 представленных нами миниатюр разных жанров десять завершенных и одно неоконченное сочинение до сих пор не опубликованы. Большинство юмористических произведений написано «по случаю»: приведены некоторые факты из жизни композитора и его друзей Масловых - участников журнала. Подчеркнута приверженность Танеева к выбору определенных стихов Козьмы Пруткова, Пушкина, Фета, Тютчева и других. В некоторых произведениях композитор предстает автором не только музыки, но и поэтического текста. Составлена хронологическая таблица сочинений для журнала «Захолустье», в которой указаны даты создания миниатюр, их первого издания, место хранения рукописей, авторские ремарки, уточняющие принадлежность произведения к журналу. The article is the first study of the history of the creation of works by S.I.Taneyev written for the magazine Zakholustye (18761889). Ten completed and one unfinished work from the 46 miniatures of different genres presented by us have not been published so far. The most humorous works were written on occasion: some facts from the life of the composer and his friends Maslovs, participants of the magazine, are given. Taneyevs commitment to the choice of certain verses by Kozma Prutkov, Pushkin, Fet, Tyutchev is underlined. In some works, the composer appears as the author not only of music, but also of poetic text. A chronological table of works for the magazine Zakholustye indicates the dates of creation and first edition, the place of storage of the manuscripts, authors remarks specifying the works affiliation to the magazine.
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Karpus', Veronika Ivanovna. "S. I. TANEYEV’S CHORAL CYCLE OP. 27 ON Y. P. POLONSKY’S POETRY: CORRELATION OF THE POET’S AND THE COMPOSER’S ESTHETICAL AND PHILOSOPHICAL VIEWS." Manuscript, no. 7 (July 2018): 128–32. http://dx.doi.org/10.30853/manuscript.2018-7.26.

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Segall, Christopher. "Sergey Ivanovich Taneyev - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 1, String Quartets Nos. 1 and 3. Carpe Diem String Quartet. Naxos 8570437, 2007 (1 CD: 61 minutes). - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 2, String Quartets Nos. 2 and 4. Carpe Diem String Quartet. Naxos 8572421, 2010 (1 CD: 67 minutes). - Sergey Ivanovich Taneyev. Complete String Quartets, vol. 3, String Quartets Nos. 5 and 7. Carpe Diem String Quartet. Naxos 8573010, 2012 (1 CD: 62 minutes)." Nineteenth-Century Music Review 11, no. 2 (December 2014): 375–77. http://dx.doi.org/10.1017/s1479409814000470.

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Gasanaliev, R. Sh. "Two-choral compositions of the cycle "12 choirs a'capella" (Op. 27) on poems by Ya.Polonsky as the pinnacle achievements in the evolution of the choral style of S. Taneyev." Искусство и образование, no. 4 (2021): 30–41. http://dx.doi.org/10.51631/2072-0432_2021_132_4_30.

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10

Плотникова, Н. Ю. "On Imitation Forms in the Four-Part Divine Service (“Difficult”) by Vasiliy Titov." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 63–79. http://dx.doi.org/10.26156/om.2020.12.5.004.

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Василий Титов (ок. 1650 – ок. 1715) — выдающийся русский композитор эпохи барокко, в хоровых произведениях которого для различных составов (от трех до двадцати четырех голосов) ярко представлена имитационная техника. Его «Служба Божия» для двух дискантов и двух басов, созданная в 1680–1690-е годы, в одном из рукописных сборников середины XVIII века получила название «трудная», в первую очередь в связи с большим количеством имитационных форм (простые и канонические имитации, бесконечные каноны и канонические секвенции), а также с необычным для партесного стиля типом тематизма, приближающимся к инструментальному. Особый интерес представляют фугированные формы, помещающиеся в экспозиционных разделах частей крупного многочастного цикла Службы, их канонические структуры и своеобразная ладовая организация. В задачи автора статьи входит выявление и характеристика имитационных форм Службы с опорой на теорию С. И. Танеева и методику современного полифонического анализа, определение роли полифонии в построении крупных тексто-музыкальных форм. Vasiliy Titov (c. 1650 – c. 1715) is an outstanding Russian composer of the Baroque era, who brilliantly used imitation techniques in his choral works for choirs of wide range (from three to twenty-four voices). In one of the manuscript сollections of the mid-18th century, his Divine Service for two treble and two bass voices, composed in the 1680–90s, is referred to as ‘difficult’ — primarily due to the multitude of imitations (both simple and canonic, including perpetual canons and canonic sequences), as well as to the peculiarities of the work’s thematic material, close to the instrumental nature, which is unusual for the partesny style. Of particular interest are the fugue forms that are located in the exposition sections of the parts of a large multi-part cycle of the Service, their canonical structures and a kind of modal organization. The tasks of the author of the article include identifying and characterizing the imitation forms of the Service based on the theory of Sergey I. Taneyev and the methodology of modern polyphonic analysis, and defining the role of polyphony in large-scale vocal forms.
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Dissertations / Theses on the topic "Taneyev's"

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Belina, Anastasia. "A critical re-evaluation of Taneyev's Oresteia." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/6753/.

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The musical trilogy Oresteia (1894, revised 1900), written by Sergey Ivanovich Taneyev (1856-1915) after the eponymous drama by Aeschylus, is a unique work, one of the masterpieces of Russian opera, which continues to stand alone in the Russian operatic repertoire of the nineteenth century, and even the entire Russian operatic output. No other composer in Russia completed an opera of this kind based on a Greek drama, and in Europe, only Berlioz's Les Troyens could be compared to Oresteia in scope. At a time when Russian composers based their operas predominantly on Russian sources-literary, folk, or historical-Taneyev's choice of an antique tragedy immediately placed him outside the 'nationalist' genre explored by his colleagues. Oresteia is an opera very rarely performed, and this thesis sheds light on the possible reasons why it did not becomes more successful on the stage. These include the classical subject, lack of local colour in the music, absence of love element, and unsympathetic first revival. But while in 1895 Oresteia was criticised for not bowing to nationalist demands, in 1917 such an approach was considered to be one of the opera's strongest points. This thesis is based on examination of primary and secondary sources such as letters, diaries, manuscripts, the score, and the 1976 recording of Oresteia by the Belorussian State Theatre of Opera and Ballet. A number of archival materials relating to Taneyev's opera are here published for the first time, such as the correspondence between Taneyev and his librettist Aleksey Venkstern, which has been neglected for over a century. The study of these materials addresses several issues pertaining to the opera's composition, production, stage history and reception that have not been investigated before, such as Taneyev's interest in Wagner, and Taneyev's collaboration with the Russian Imperial Theatres. Taneyev's diaries show that, although he has often been viewed as a staunch anti-Wagnerian, his interest in that composer was extensive and serious, as demonstrated by the presence of Wagnerian influences in Oresteia. The link between Taneyev and Wagner contributes to a greater understanding of Wagner's reception in nineteenth-century Russia. Finally, this thesis contributes to a deeper understanding of the workings of Russian Imperial Theatres and their treatment of Russian composers. It also offers new insights into the critical reception of operas that did not fit into the desirable and popular 'nationalistic' category. The history of the reception of Oresteia reveals the changing tastes of both public and critics from the end of the nineteenth to the middle of the twentieth centuries.
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Gravelle, Shannon Marie. "A preliminary study of the choral works and style of Sergei Taneyev." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5484.

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Liu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovsky’s Piano Concerto No.1." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3648/.

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This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.
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Wen, I.-Ting, and 溫依婷. "A Study of Compositional Techniques in Sergey Taneyev's Piano Quintet." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/17550783424367096999.

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碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
96
Sergey Ivanovich Taneyev is the key composer who links the nineteenth and twentieth century music of Russian music. To be in the conflict and culture shock between western Romanticism and native Nationalism, Taneyev chose back to explore the strict counterpoint of Renaissance. He uses a scientific manner as the framework to layout themes and embellishes contents with Post-Romantic language. In three of the piano chamber works he had composed, all applying the technique of counterpoint, among the most obvious is Piano Quintet which filled musical tension and incite public feeling. This composition is an introductory study to research Taneyev’s theory of counterpoint. This thesis starts with brief introduction of Taneyev’s life and music point of view based on the development of Russian classical music. Then further discuss his three chamber music compositions for piano. At the end, the thesis go deeply into his compositional techniques on the Piano Quintet in G Minor, op. 30. From many-point of view into Taneyev, the “Russian Bach’s” world of music.
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"A Performer’s Guide and Structural Analysis of Sergei Taneyev’s Concert Suite for Violin and Orchestra." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53737.

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abstract: This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices. Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries. The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork.
Dissertation/Thesis
Doctoral Dissertation Music 2019
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Book chapters on the topic "Taneyev's"

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Belina, Anastasia, and Michael Ewans. "Taneyev’s Oresteia." In Ancient Drama in Music for the Modern Stage, 258–84. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:osobl/9780199558551.003.0014.

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"Aeschylus’ Cassandra in the Operas of Taneyev and Gnecchi." In The Reception of Aeschylus’ Plays through Shifting Models and Frontiers, 213–35. BRILL, 2017. http://dx.doi.org/10.1163/9789004332164_010.

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Conference papers on the topic "Taneyev's"

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Lukina, Galima. "Philosophy of Intonation in Sergey Taneyev's Cantatas." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.6.

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Lukina, Galima. "Genre Specificity of S. I. Taneyev's qOresteiaq Trilogy." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.93.

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Lukina, Galima. "An Overview of Russian and English-American Studies on Sergey Taneyev’s Creative Activity." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.063.

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Lukina, Galima. "Mystery of the Concept: S. I. Taneyev’s Choruses, Op. 35, to Words by K. D. Balmont." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.128.

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