Relevant bibliographies by topics / Tchaikovsky

Contents

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

Academic literature on the topic 'Tchaikovsky'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Tchaikovsky"

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Seibert, Donald C. "The Enchantress and Problems of Pacing in the Operas of Tchaikovsky: An Informal Interview with David Lloyd-Jones." Nineteenth-Century Music Review 4, no. 1 (June 2007): 103–17. http://dx.doi.org/10.1017/s1479409800000082.

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In June and July of 2004, Grange Park Opera gave the first professional stage performances in the United Kingdom of Tchaikovsky's The Enchantress (Charodeyka). David Lloyd-Jones conducted and was responsible for the performing version. The following article is based on an interview with him taped between the sixth and seventh performances.A retired Syracuse University music librarian, is the author of two published Tchaikovky studies: ‘The Tchaikovsky Fifth: a symphony without a programme’ (1991) and, in collaboration with Mark Elder, ‘The Dramaturgy of Tchaikovsky's Mazeppa’ (1988). He was for many years a contributor of record reviews and interviews to Fanfare magazine.
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Maes, Francis. "Tchaikovsky, Onegin, and the Art of Characterization." Arts 13, no. 3 (April 30, 2024): 82. http://dx.doi.org/10.3390/arts13030082.

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Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project? Music criticism has taken Tchaikovsky’s words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky’s music is the result of the composer’s identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky’s music. As an alternative, Tchaikovsky scholarship has explored a hermeneutical approach that would link his music to its context in Russian society and culture. In this paper, I present another possible reaction to Tchaikovsky’s statement: an exploration of the composer’s approach to musical characterization. Analysis of some key scenes reveals that the definition of characters and situations by musical means is more precise than standard interpretations of the opera would concede. This discovery may lead to a new assessment of characterization as a critical tool to refine the definition of Tchaikovsky’s position in European music history. The method may be applied to examples outside his operatic output, such as Serenade for Strings and the Fifth Symphony.
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Zhen, Li. "The Origins of Theatricality in Vocal Art of Alexander Tchaikovsky." Университетский научный журнал, no. 79 (April 24, 2024): 100–105. http://dx.doi.org/10.25807/22225064_2024_79_100.

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This article is devoted to the vocal works of the outstanding Russian composer Alexander Vladimirovich Tchaikovsky. The perspective of the study is the manifestation of theatricality in the composer’s vocal cycles. The quality of theatricality was formed by the conditions of Tchaikovsky’s personal formation in the atmosphere of professional activity of the closest members of his family. His father, Vladimir Alexandrovich Tchaikovsky, was the director of the Stanislavski and Nemirovich-Danchenko Moscow Music Theatre. His work in the 1960–70s had a huge impact on the personality of the future composer. His uncle, Boris Alexandrovich Tchaikovsky, was an outstanding Soviet composer. The vocal cycles of Alexander Tchaikovsky show the tendency towards theatricalisation of vocal works, which developed in Western European and Russian musical art of the 19th and 20th centuries.
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Stepanidina, Ol'ga Dmitrievna, and Viсtor Anatolyevich Demidov. "The influence of French lyrical romances on creativity of P. Tchaikovsky and their significance in the formation of the performing principles of the Russian chamber-vocal culture of the mid-XIX century." PHILHARMONICA. International Music Journal, no. 3 (March 2022): 52–68. http://dx.doi.org/10.7256/2453-613x.2022.3.37842.

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The subject of the study is the influence of the French lyrical romance on the chamber-vocal lyrics of P. Tchaikovsky and its significance in the formation of domestic music performance in the middle of the XIX century. In the lyrical romances of P. Tchaikovsky and in the cycle Op.65, their common features and national differences are studied. The significance of P. Tchaikovsky's chamber vocal music on the opera and chamber music is revealed. The article uses methods of complex and comparative analysis, which creates prerequisites for a fairly objective conclusion about the harmonious implementation of French music features in Tchaikovsky's compositional work and music performing. For the first time, the analysis of the prerequisites for P. Tchaikovsky's creation of lyrical romances inspired by France of the era of lyrical opera and the appearance of an opera-chamber singer as a result of the influence of French lyrical romance on the chamber-vocal creativity of P. Tchaikovsky is considered. The scientific novelty of this research lies in a comprehensive approach to studying the problem of the influence of French lyrical romance on the peculiarities and originality of P. Tchaikovsky's chamber lyrics and the domestic chamber vocal culture of the second half of the XIX century. Author concluded that lyrical romances and of Op. 65 reveals influence of French poets on P. Tchaikovsky. The practical significance of this research lies in the fact that professional chamber performers in their concert activities and teachers of music educational institutions in practical work with students are obliged to approach the choice of expressive means with knowledge of style and genesis.
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Skvirskaya, T. Z. "Pages of the History of the Creation of the Cantata Moscow by P.I. Tchaikovsky: Unpublished Correspondence between the Composer and P.A. Richter." Art & Culture Studies, no. 4 (December 2023): 578–603. http://dx.doi.org/10.51678/2226-0072-2023-4-578-603.

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The article for the first time publishes the correspondence of P. I. Tchaikovsky with the Chairman of the Coronation Commission P. A. Richter, connected with the history of the cantata Moscow. This work for soloists, choir, and orchestra to the text by A. N. Maikov was written by Tchaikovsky on the order of the Coronation Commission and was first performed on the day of the solemn coronation of Emperor Alexander III on May 15 (27), 1883. Richter’s letters and telegrams to Tchaikovsky are stored in the Tchaikovsky State Memorial Musical Museum-Reserve in Klin, they have been mentioned in literature but have not been published. It was Richter who on March 4 (16), 1883 turned to the composer, who was then in Paris, with a request to compose a coronation cantata. Response letters and telegrams from Tchaikovsky to Richter, previously unknown, were discovered by the author of the article in 2022 in the Russian State Historical Archives (St. Petersburg). In total, ten archival documents are introduced into scientific circulation, including six unpublished texts by Tchaikovsky: four letters and two telegrams. The correspondence covers the period from March 4 (16) to April 17 (29), 1883. The published epistolary documents are provided with historical and textual-critical comments. The telegrams of both correspondents are presented in the French original and translated into Russian. Tchaikovsky’s correspondence with Richter and comments on it reveal the details of the history of the creation and first performance of the cantata Moscow, the pages of the history of its manuscript and new facts of the composer’s biography. The correspondence materials are a valuable source for restoring the creative history of the cantata as part of the preparation of a new critical edition of this work in Academic Complete Works of P. I. Tchaikovsky.
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Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.

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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.
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Goldin, Vladislav I. "N. V. Tchaikovsky and A. I. Denikin: Dialogue, Collaboration, and Controversy of the Anti-Bolshevik Movement Leaders in the Days of the Civil War in Russia: Documents from Russian and Foreign Archives." Herald of an archivist, no. 1 (2022): 81–97. http://dx.doi.org/10.28995/2073-0101-2022-1-81-97.

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The article presents the activities of the anti-Bolshevik movement leaders, N.V. Tchaikovsky in the North and General A.I. Denikin in the South of Russia in the days of the Civil War. The object and aim of the research is to analyze their relations, dialogue, collaboration, and contradicting views on state building, interrelations of civil and military powers, relations with the foreign allies by studying archival documents. Most of the studied documents are from documentary collections of the former Russian Historical Archive Abroad in Prague transferred in 1946 to Moscow and now mostly stored in the State Archive of the Russian Federation: personal provenance fonds of N. V. Tchaikovsky and A. I. Denikin, documentary collection of the “Society of Northerners.” The article analyzes a long letter written by Tchaikovsky and addressed to Denikin (April 1919), where he assesses organization of power in the Northern Region, relations of the military, including foreign allies and Commander-in-Chief of the Entente forces, with the government of the Northern Region. It presents documents on Tchaikovsky’s views on the political process in South Russia at the time when he was a member of the Russian Political Delegation of the Russian Political Conference in Paris; on relations of the White movement with nationalities. The article highlights Tchaikovsky’s meeting with the Polish leader Josef Pilsudski in an attempt to organize a military alliance of Denikin’s forces with Poland. It assesses Tchaikovsky’s participation in the South Russian Government in 1920 and his relations with General Denikin at the same period. Tchaikovsky sought to implement a “middle” course, balancing the “left” and the “right” fractions, civil and military powers; to demonstrate democratic nature of the Government; and to gain support of a considerable part of the population, while General Denikin was in favor of military dictatorship. Neither approach brought success to the anti-Bolshevik movement in the Civil War. However, identifying and introducing into scientific use documents of these two leaders of the anti-Bolshevik movement is important for proper understanding of its history.
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Brown, David. "Tchaikovsky." Musical Times 133, no. 1791 (May 1992): 221. http://dx.doi.org/10.2307/1193695.

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Fanning, David. "Tchaikovsky." Nineteenth-Century Music Review 3, no. 1 (June 2006): 150–53. http://dx.doi.org/10.1017/s1479409800000471.

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Campbell, Stuart. "Tchaikovsky." Nineteenth-Century Music Review 1, no. 1 (June 2004): 193–95. http://dx.doi.org/10.1017/s1479409800002056.

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Dissertations / Theses on the topic "Tchaikovsky"

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Dyachkova, Yelena. "Piotr Tchaikovsky and the Bible." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 77-84, 1999. https://ul.qucosa.de/id/qucosa%3A15625.

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Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky''s interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer''s favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible.
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Dyachkova, Yelena. "Piotr Tchaikovsky and the Bible." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224596.

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Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky's interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer's favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible.
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Koch, Marelize. "‘n Pedagogiese analise van Tchaikovsky se Jeugalbum Op. 39." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65564.

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The primary focus of this particular study will be the psychology behind the development of the early pianist as well as appropriate repertoire for pianists in this primary phase. The writer will focus on the beginner pianist from the age of six to eleven. The primary phase of development is arguably the most important hence the basis it provides. Technical skills, critical listening skills and musicality have to be developed during this phase. The 19th century Russian composer Pyotr llyich Tchaikovsky’s Album for the Young, op. 39 is recognised as appropriate material for children in this primary phase of development. In this study, a background of the pieces will be provided and special attention will be given to technical difficulties of each individual piece. The criteria will be categorised into technical and musical abilities. These abilities will meet the student’s level of development and will ensure technical and musical development. In order to assist the piano teacher during the teaching of these pieces, supporting material such as teaching strategies, fingering suggestions, musical and technical suggestions will be provided. To enhance the quality of teaching the study will provide pedagogical and practical suggestions to help with any potential problems. In essence this study can be used as a guideline for piano teachers who would like to use the Album for the Young, op. 39 as part of their teaching repertoire.
Dissertation (MMus)--University of Pretoria, 2017.
Music
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Leaman, Kara Yoo. "Analyzing Music and Dance| Balanchine's Choreography to Tchaikovsky and the Choreomusical Score." Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10584953.

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George Balanchine was one of the most prolific and influential choreographers of the twentieth century. He was also a skilled musician, trained at the St. Petersburg Conservatory. His ballets have been celebrated for their musicality by prominent dancers and musicians alike. However, the concept of choreographic musicality, and the means by which it is achieved in his ballets, has remained largely elusive. This dissertation analyzes two works that Balanchine set to music by Pyotr I. Tchaikovsky: Tschaikovsky Pas de Deux (1960), set to an interpolation in Swan Lake (1877), and Theme and Variations (1947), set to the fourth movement of the Third Orchestral Suite (1884). The analyses combine perspectives from traditional music analysis, dance transcription, and digital video annotation. The methodology takes advantage of Balanchine's strong musical literacy to examine, first, the musical scores, as he did, and then his choreographies in relation to the scores. The analyses connect elements of his choreography directly to their probable sources in the music, and they show that Balanchine was guided by discernible priorities in setting dance to music: that dance and music reflect a partnership rather than dominance by one party; that dancers move with unreserved energy, reflected in steps that cross musical boundaries or anticipate musical ideas; and that dance establish a strong relationship with its music before it is free to conflict with it. Balanchine's choreomusical style encompasses many different types of relationships between music and dance, and he achieved what may be described as musical artistry by a variety of choreographic techniques. The analyses in this study offer a detailed view of important aspects of Balanchine's multifaceted choreomusical style.

To examine Balanchine's choreography, this dissertation presents a method for transcribing dance in a music-based notation system that prioritizes the representation of pitch with rhythm. It introduces a new "choreomusical notation" that maps "choreographic pitch" (or, spatial height) onto the vertical axis and "choreographic rhythm" onto the horizontal axis of a musical staff. Using this notation, visual representations of dance and music are aligned in a "choreomusical score," and analytic paradigms developed in music theory are applied to works of dance with music. Unlike most other systems of dance notation, this choreomusical notation is not intended to capture choreography in a comprehensive way; rather, it is designed to distill some of the most musically salient elements of a dance into notation for the purpose of intermedia analysis. Compared with other choreomusical analyses that use dance notations, this dissertation brings Balanchine's ballets and their musical scores into closer visual and cognitive proximity. This choreomusical notation can also be adapted to reflect musically salient aspects of other dance styles. Sample analyses showing extended applications, with excerpts from minuet, Bulgarian folk dancing, cartoon, and rave dancing, are included in the final chapter.

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Lin, Louise Jiayin. "Sergei Tanayev (1856-1915) an analysis of his Piano concerto in E-flat major and its relationship toTchaikovsky's Piano concerto no. 1 /." Lecture recital, recorded Dec. 1, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3648.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2000, June 24, 2002, Jan. 24, 2005, and Dec. 1, 2006. Includes bibliographical references (p. 37-38).
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Boeskool, Breighan M. "Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134139003178.

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Dyachkova, Yelena. "Tchaikovsky’s Liturgy as a directive for the world-outlook of the Russian intelligentsia." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219054.

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Spriggs, Olga A. "A Choral Conductor’s Guide to Pyotr Ilyich Tchaikovsky’s “Moscow” Coronation Cantata." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439307279.

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Hao, Chenyang. "A Pedagogical Guide for Tchaikovsky's Ablum for the Young, Op. 39." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1823.

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This document is a pedagogical guide for Tchaikovsky’s Album for the Young, Op. 39, which is regarded as valid pedagogical material for teachers interested in incorporating this repertoire into their studios. This document contains brief bibliographical information of Peter Ilyich Tchaikovsky and a concise background of Album for the Young, Op. 39, and then presents a comprehensive pedagogical analysis of each piece, which includes teaching methods, technical approaches and practice suggestions. In addition, this document assigns a level for each piece of this collection. Tchaikovsky’s Album for the Young, Op. 39 may be employed by teachers for elementary and intermediate students. This pedagogical guide is written as a reference for the teachers who will enable students to better understand Tchaikovsky’s piano music. Studying this repertoire allows students to be better prepared to study Tchaikovsky’s other more advanced works.
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Alexander, David Robert 1955. "Tchaikovsky's "Third Symphony": An analysis of its form, harmony, and style." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/291559.

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Little has been written about Tchaikovsky's Third Symphony, and it is rarely performed. Many of the compositional techniques used in this symphony were also used in Tchaikovsky's later symphonies; in some regards, however, the Third Symphony is atypical (if not unique) in relation to his other symphonies: It contains five movements, its tonic key is major, and it is not programmatic. This thesis presents a comprehensive analysis of the symphony as it unfolds, and this is illustrated with musical examples and analytical figures. An analysis chart of each movement (detailing form and key) is given. Each movement is summarized in terms of sonorities, tonalities, and methods of modulation, thereby providing some insights into the consistency/variety of Tchaikovsky's compositional language in this symphony. It is hoped that this analysis will help to generate interest in this important Tchaikovsky symphony that has, to date, attracted little attention.
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Books on the topic "Tchaikovsky"

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1939-2008, Krimets Konstantin, Kisin Evgenii? 1971-, Moskovskii? simfonicheskii? orkestr, Bolshoi? teatr Rossii Balet, Cromwell Productions, and Films for the Humanities (Firm), eds. Tchaikovsky. Princeton, N.J: Films for the Humanities & Sciences, 2004.

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Rachlin, Ann. Tchaikovsky. Hauppauge, NY: Barron's, 1993.

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Nice, David. Tchaikovsky. New York: Simon & Schuster, 1995.

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Clark, Elizabeth. Tchaikovsky. Hove: Wayland, 1988.

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ill, Morris Tony, ed. Tchaikovsky. New York: Bookwright Press, 1988.

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Susan, Hellard, ed. Tchaikovsky. London: Gollancz, 1993.

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Susan, Hellard, ed. Tchaikovsky. London: Gollancz, 1993.

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David, Brown. Tchaikovsky remembered. Portland, Or: Amadeus Press, 1994.

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David, Brown. Tchaikovsky remembered. London: Faber and Faber, 1993.

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Venezia, Mike. Peter Tchaikovsky. Chicago: Childrens Press, 1994.

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Book chapters on the topic "Tchaikovsky"

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Faro, C. "Tchaikovsky, Peter Ilyich." In Who's Who in Gay and Lesbian History, 435–36. 2nd ed. London: Routledge, 2020. http://dx.doi.org/10.4324/9781003070900-450.

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Seaman, Gerald R., and Katherine H. Seaman. "Tchaikovsky’s Musical Works." In Pëtr Il’ich Tchaikovsky, 1–51. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315649139-1.

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Seaman, Gerald R., and Katherine H. Seaman. "Tchaikovsky’s Literary Works." In Pëtr Il’ich Tchaikovsky, 53–83. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315649139-2.

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Seaman, Gerald R., and Katherine H. Seaman. "Bibliography: Musical Works." In Pëtr Il’ich Tchaikovsky, 85–179. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315649139-3.

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Seaman, Gerald R., and Katherine H. Seaman. "Bibliography: General." In Pëtr Il’ich Tchaikovsky, 181–350. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315649139-4.

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Poznansky, Alexander. "Tchaikovsky as Communist Icon." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 357–66. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-038.

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Montgomery, Alan. "Mussorgsky, Tchaikovsky, and the Five." In Opera Coaching, 102–4. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-19.

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"Tchaikovsky." In Russians on Russian Music, 1880–1917, 1–41. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481901.003.

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"TCHAIKOVSKY." In Orchestral Masterpieces under the Microscope, 633–43. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.88.

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"TCHAIKOVSKY." In Orchestral Masterpieces under the Microscope, 597–605. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.83.

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Conference papers on the topic "Tchaikovsky"

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Gafarov, Timur Ilmirovich. ""Children's album" by P.I. Tchaikovsky." In III International applied research conference for pupils, chair Lyubov Dmitriyevna Noskina. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-81127.

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Hashida, Mitsuyo. "Variation from “Tchaikovsky pas de Deux”." In ACM SIGGRAPH 98 Conference abstracts and applications. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/280953.289346.

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Tonchuk, P. O. "“Elegie” by S. V. Rachmaninov as a Reflection of the Composer’s Worldview." In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-140-153.

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The article studies S. V. Rachmaninov’s famous work – “Elegie” op. 3. The background of the composer’s tragic perception of the world, determined by his worldview in general, influenced his running out of the limitations of elegy as the genre model. For instance, the concept of “tragic farewell” is one of the constants in the composer’s works and his perspective on life. The article highlights similarities and common points between the works of S. V. Rachmaninov and the elegies of French composers, creations of P. I. Tchaikovsky, the poetic work of V. K. Trediakovsky, as well as the ancient prototype of the genre – the chant of the double flute of Asia Minor. Moreover, the study shows the presence in the worldview of S. V. Rachmaninov the “East theme” and some elements of the musical language of P. I. Tchaikovsky, creatively revisited and integrated as a component of his artistic style.
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Naiko, Natalia. "The Refraction of Musical Ideas by P. Tchaikovsky in the Works of D. Shostakovich." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.11.

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Емельянова, Графира Николаевна. "A TRIP TO THE PAST, OR A LOOK FROM THE FUTURE." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Декабрь 2020). Crossref, 2021. http://dx.doi.org/10.37539/seh294.2020.13.94.007.

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В данной статье проводится сравнительный анализ двух постановок балета «Спящая красавица» П. И. Чайковского-М. Петипа - спектакля в редакции К. Сергеева, созданного в 1952 и в 1989 годах и реконструкции данного балета, осуществленной танцовщиком Мариинского театра С. Вихаревым в 1999 году. This article provides a comparative analysis of two productions of the ballet Sleeping Beauty by P. I. Tchaikovsky-M. Petipa - a performance edited by K. Sergeyev, created in 1952 and in 1989 and the reconstruction of this ballet, carried out by Mariinsky Theater dancer S. Vikharev in 1999.
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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 described in many of the writer's works, which also include stories with purely musical titles. The article also briefly mentions some descriptions of Italy, a country much admired by the writer. Keywords: Anton Pavlovich Chekhov
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Троицкая, Э. Н., and О. В. Петрухина. "APPLICATION OF MULTIMEDIA TECHNOLOGIES IN THE PROJECT OF REVALORIZATION OF ARCHITECTURAL HERITAGE." In Мультимедиа: современные тенденции IX Международная научно-практическая конференция. Crossref, 2024. http://dx.doi.org/10.54874/9785605054290_248.

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В статье освещается процесс ревитализации объектов архитектурно-культурного наследия. Автор рассматривает теоретические аспекты разработки проектов ревалоризации тех или иных зданий на примере создания в особняке Е. Н. Нарышкиной арт-пространства «Муха». Раскрывается эффективность применения мультимедийных технологий в приведенных процессах. Показана связь графического и моушн-дизайна с некоторыми аспектами ревитализации городских комплексов на примере разработки арт-пространства «Муха» в особняке Е. Н. Нарышкиной на улице Чайковского, д. 7. The article highlights the revitalization process of architectural and cultural heritage objects. The author examines the theoretical aspects of the development of projects for revalorization of certain buildings by the example of the art space Muha creation in the Е. N. Naryshkina mansion. The effectiveness of the multimedia technologies use in the above processes is revealed. The connection of graphic and motion design with some aspects of the urban complexes revitalization is shown by the example of the art space Muha development in the E. N. Naryshkina mansion on Tchaikovsky Street, 7.
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Dunaeva, Tamara. "Section of rare and valuable publications of the library named after M. V. Lomonosov, branch of the municipal library “B. P. Hasdeu”." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.12.

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The rare book section appeared in the library named after M.V. Lomonosov 8 years ago. This fund is small - only a couple of hundred books. However, its value is measured not by size, but by uniqueness. The basis of the fund is made up of editions of the XIX–XX centuries. In terms of its content, the fund is universal. Most of it is fiction. In addition, there is popular science literature of past centuries, dictionaries, encyclopedias, newspapers. The collection of rare books includes: the collection “Poems and Prose Articles” by Mikhail Vasilyevich Lomonosov, published in 1886 and donated in 1984 by the poet Ion Odobescu; A. Glazunov, 1895 edition; I. Turgenev –1898; M. Gorky – 1901; Emilian Bukov – 1938; V. Zhukovsky – 1902; N. Leskov – 1903; P. Tchaikovsky – 1908; I. Brahms – 1873; M. Yu. Lermonotov – 1940; H. Wells – 1909 “Otechestvennye zapiski” – 1840; “Bulletin of Europe” – 1879; “Course of Geography of NonEuropean Countries” – 1905; “Niva” – 1899; K. Marx’s “Capital” – published in 1950 and much more. Our books are not museum pieces. They form part of the actively used collection of the library. Any interested reader can get acquainted with the collection of rare books on the website of the library M. V. Lomonosov in the “Rare Books” section.
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Lysenkova, Elena. "R.R. TCHAIKOVSKI - A TRANSLATERAND A THEORIST OF TRANSLATION." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.20.

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The article is devoted to a significant Russian translator and scientist who entered the theory of translation at the turn between XX-XXI centuries. A teacher, a translator and a scientist with inexhaustible energy he dedicated all his life to teaching and scientific career brought up more than a dozen worthy young colleagues-researchers.
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Siwen, Wang. "Art Appreciation of Tchaikovsky’s Piano Piece: Dumka." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.043.

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