Thèses sur le sujet « Composers, russia »

The impact of training on virtual team effectiveness was assessed in five areas: communication, planning tasks and setting goals, solving problems and making decisions, resolving conflict, and responding to customer requirements. A 12-page survey was developed exploring all aspects of virtual teams. 180 surveys were distributed, 52 were returned representing 43 companies. Training led to higher effectiveness in planning tasks and setting goals, solving problems and making decisions, and conflict resolution, but not in communication and responding to customer requirements. Training may not solve all the problems that virtual teams will encounter; however, training will make the challenges easier to handle.

Ballet music is an important genre of the canon of Western Classical Music. Composers and choreographers have collaborated on large-scale productions since the sixteenth century, but it was in the late nineteenth century that the art of ballet rose to unprecedented heights with the work of Marius Petipa. Petipa’s collaboration with specialist composers of ballet music had important consequences for the genre going into the twentieth century. As Petipa worked with these specialists, including Ludwig Minkus and Riccardo Drigo, the relationship of dance and music in ballet evolved from a hierarchical relationship (dance over music) to a more equal pairing. This evolution correlates to the changing cultural and political tides of St. Petersburg from the Great Reforms in the 1860s to the October Revolution in 1905. In the 1890s and early 1900s, Petipa collaborated with more established Russian composers, including Peter I. Tchaikovsky, Alexander K. Glazunov, and Arseny N. Koreshchenko. This project considers several ballets by these composers, analyzing various Adagio movements from these works to show how ballet composing was approached first by ballet specialists and subsequently by symphonic composers. These dances are examined within the context of the Grand Ballets they come from as well as from a cultural and historical perspective.

The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three sections, representing works composed before, around the same time as, and after, Stravinsky’s notorious masterpiece. Following a brief introduction, and a descriptive chapter outlining Diaghilev’s artistic heritage, as well as Paris before the arrival of his company, the first section deals with the Ballets Russes’s early modus operandi; focusing on Nikolai Tcherepnin’s Le Pavillon d’Armide and Reynaldo Hahn’s Le Dieu bleu. The next explores the Ballets Russes in the wake of Le Sacre du Printemps, using Erik Satie’s Parade as an example of a ballet indebted to Stravinsky’s innovations. However, influence was not entirely a one-way phenomenon, and part of this section also discusses connections between the early Ballets Russes works and Le Sacre. Finally, the season of French ballets performed in 1924 allows me to reflect on the stylistic changes that occurred in the later years of the company, using Darius Milhaud’s Le Train bleu, Georges Auric’s Les Fâcheux, and Francis Poulenc’s Les Biches as examples of the company’s shift to an enterprise that placed greater emphasis on the visual. This research argues that even the lesser-known works, despite their apparent lack of musical innovation, contributed to the more path-breaking scores that have come to command scholarly interest. Moreover, the seasons I have highlighted reflect the changing ideologies of Diaghilev and his company, as it evolved from a Russian troupe inspired by the Mir Iskusstva, to a European artistic collective presenting the ideas of Cocteau and Les Six to Paris. Areas of future research extend from this thesis, as many other lesser-known ballets not encompassed here would clearly benefit from detailed scrutiny. Applying the principles of musical examination here outlined, together with an open-minded approach to new historical perspectives, should further help to redress the balance of scholarly attention that has skewed the overall understanding of the Ballets Russes.

Inventé en Autriche en 1829, l'accordéon est introduit en France dès l'année suivante et s'impose rapidement dans les salons bourgeois, avant de connaître un essor fulgurant dans les rues et les lieux de danse. Devenu un symbole de divertissement dès le début du siècle suivant, il a ensuite dû sortir des sphères intimes dans lesquelles il évoluait et se confronter à ses détracteurs pour conquérir petit à petit des mondes qui n'étaient pas siens. Dans une première partie historique, nous sommes revenue sur l'histoire de l'accordéon en France, afin de comprendre comment l'instrument a intégré peu à peu toutes les sphères musicales et quels ont été les acteurs de cette évolution. Si notre propos traite principalement de l'accordéon français, nous avons tout de même choisi d'étendre partiellement notre objet d'étude à la Russie car la confrontation de deux grandes écoles et de deux visions différentes de l'instrument nous semblait pertinente pour une meilleure compréhension de son histoire. De surcroît, si l'accordéon est apparu en Russie peu de temps après son émergence en France et que sa facture a évolué là-bas de façon similaire, l'instrument ne semble pas avoir autant souffert de cette dichotomie populaire/savant. De son intégration dans un effectif orchestral par Tchaïkovski en 1883 à son entrée dans les conservatoires de Moscou et de Saint-Pétersbourg dans les années vingt, il a ouvert plus rapidement des portes qui lui demeuraient encore fermées dans notre pays. L'intégration institutionnelle de l'accordéon marqua notamment un tournant important dans son histoire et nous avons choisi de mettre en lumière, dans notre deuxième chapitre, l'accordéoniste Jules Prez, professeur titulaire de la première classe d'accordéon dans un conservatoire français. Puis, nous avons dressé un état des lieux de la présence de l'instrument dans ce type d'établissement. Nous avons ensuite consacré notre troisième chapitre à l'étude de l'évolution du répertoire savant pour accordéon en France et en Russie, de l'éclosion des premières pièces originales jusqu'à nos jours. Dans notre dernière partie, nous avons enfin mené une brève analyse de plusieurs pièces pour accordéon solo, afin de montrer l'évolution de l'écriture accordéonistique, principalement dans le rôle dévolu au clavier main gauche. Si nous avons bien évidemment retenu des œuvres phares de la littérature, nous avons également choisi de traiter de compositions plus méconnues – voire oubliées – du répertoire. Cette présente thèse apporte donc des chiffres précis sur l'intégration actuelle de l'accordéon dans les conservatoires de France métropolitaine, appuyés par un catalogue de près de deux cent cinquante établissements ; une étude statistique sur l'évolution du répertoire savant depuis la composition des premières pièces originales pour l'instrument jusqu'à aujourd'hui, en France et en Russie, avec un catalogue de plus de mille trois cents œuvres ; et enfin, une série de témoignages de plusieurs acteurs et témoins de l'histoire de l'accordéon (compositeurs, concertistes, pédagogues et facteurs)
Invented in Austria in 1829, the accordion was introduced in France the following year and quickly established in bourgeois salons, before experiencing a boom in the streets and dancing places. Being an entertainment symbol from the beginning of the next century, the accordion then had to leave the intimates spheres in which he evolved and confront his detractors to conquer step by step worlds that were not his. In a first historical part, we came back to the progressive legitimization of the accordion in France, in order to understand how the instrument gradually integrated all the musical spheres and who were the actors of this evolution. If our subject deals mainly with the French accordion, we have nevertheless chosen to partially extend our object of study to Russia because the confrontation of two great schools and two different visions of the instrument seemed pertinent to us for a better understanding of its history. Moreover, if the accordion appeared in Russia shortly after its emergence in France and that it has evolved there in a similar way, the instrument doesn’t seem to have suffered as much from this popular/savant dichotomy. From his integration into an orchestral ensemble by Tchaikovsky in 1883 to his entry in the conservatories of Moscow and Saint-Petersburg in the 1920s, he opened more quickly doors that were still closed in our country. The institutional integration of the accordion marked an important turning point in its history and we have chosen to highlight, in our second chapter, the accordionist Jules Prez, professor of the first accordion class in a French conservatory. Then, we presented the current situation of teaching for the scholar year 2016-2017, in order to observe the current state of the presence of classical accordion in conservatories of metropolitan France. Then, we devoted our third chapter to the study of the evolution of the savant repertoire for accordion in France and in Russia, from the birth of the first original pieces to the present day. Finally, in our last part, we conducted a brief analysis of several pieces for solo accordion, to show the evolution of accordion writing, mainly in the role assigned to the left hand keyboard. While we have of course selected some of the most important literary works, we have also chosen to deal with more unknown or forgotten compositions of the repertoire. This thesis gives precise figures on the current integration of the accordion in the conservatories of metropolitan France, supported by a catalog of nearly two hundred and fifty establishments ; a statistical study on the evolution of the savant repertoire from the composition of the first original pieces for the instrument to the present day, in France and Russia, with a catalog of more than one thousand and three hundred works ; and finally, a series of testimonies by several actors and witnesses of the history of the accordion (composers, concert players, pedagogues and factors)

Master of Music
School of Music, Theater, and Dance
Virginia Houser
Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.

Boris Kozhevnikov was a preeminent composer for the wind orchestras of the Soviet military. His Third Symphony is well known in the United States, but the rest of his compositions, and most of the Soviet wind band repertoire, remain unstudied and unperformed outside Russia. This document will explain how Soviet composers carried out their musical obligations as dictated by Communist Party mandates. Further, the functionality and prevalence of Soviet military bands will be explored. Finally, Boris Kozhevnikov will be investigated as a composer who wrote for military ensembles while adhering to Party ideals. American editions of two pieces--the Fourth Symphony and March for Ceremonial Passing--have been created as representative examples of Kozhevnikov's contribution to the genre.Socialist Realism is the term used to describe the Soviet government's mandate for "appropriate" music. Composers were expected to write music that was accessible to the masses, contained programmatic inferences, and aroused sentiments of patriotism and nationalistic pride. Rejected were any pieces displaying formalistic tendencies, including non-programmatic, overly chromatic, or atonal works.Three thousand military wind orchestras were performing in the Soviet Union at the end of the Cold War. These ensembles played original Russian and Soviet music, the vast majority of which is unknown outside Russia. Composers such as Dmitri Shostakovich, Nikolai Miaskovsky, and Sergei Prokofiev wrote for the military ensembles, providing marches and programmatic works.Boris Kozhevnikov taught at the Moscow Conservatory and Institute of Military Conductors for over forty years. He was a highly respected professor, composer, and conductor, and received praise from both Miaskovsky and Shostakovich. One of the first composers to write multiple symphonies for band, Kozhevnikov composed over forty pieces for winds, all exhibiting fundamentals of Socialist Realism. Among his techniques were the incorporation of folk, worker, and revolutionary songs; compositions specifically written and titled for commemorative events; and the composition of works for functional purposes, such as marches and ceremonial music. For his efforts, Kozhevnikov was awarded as a Distinguished Artist of the Russian Soviet Federative Socialist Republic, the Red Star, the Red Banner, the Alexandrov Award, and the Order of the Badge of Honor.

The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.

Avec les craintes actuelles sur la péjoration du climat, l’enjeu pour des tourbières abandonnées après exploitation est d’y permettre la réinstallation d’une production végétale susceptible d’y réassurer la pérennité de la séquestration du carbone à long terme. Dans cette perspective, les objectifs de cette étude étaient d’identifier des indicateurs de la reprise des processus d’accumulation de la matière organique (MO) dans des tourbières anciennement exploitées, actuellement à des stades de régénération spontanée différents. Dans le but d’identifier l’origine de la MO et d’appréhender les modalités de sa dégradation, une combinaison d’approches micromorphologiques, géochimiques globales et moléculaires a été appliquée à des échantillons de tourbe brute et de fractions fines (< 200µm), ainsi qu’à des végétaux-sources typiques. La MO accumulée dans les niveaux superficiels montre une composition très contrastée (forts C/N, prédominance des tissus hérités bien préservés, fortes teneurs en sucres…) par rapport à celle, beaucoup plus humifiée, des compartiments sous-jacents. Ceci a permis de délimiter précisément la tourbe régénérée de la tourbe du catotelm. Contrairement aux stades de régénération précoces (5-10 ans), la composition de la MO des stades plus avancés (30-40 ans) est comparable à celle de la zone non exploitée (MO homogène, dominance des marqueurs de sphaignes, forts C/N). Une analyse en composante principale (ACP) a permis de proposer des trajectoires de régénération distinctes pour chacun des sites d'étude, en fonction de leur végétation et de leur mode d'exploitation. Globalement, la bonne préservation des polysaccharides dans la tourbe, clairement mise en lumière dans cette étude, en fait de bons indicateurs de régénération.

One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the rest of his arrangements, and, except for visits to Japan, he remained in China for three years, until the outbreak of the Sino-Japanese War in July, 1937. During his three-year stay in China, Tcherepnin was greatly attracted to Chinese culture, and as a result, Chinese culture influenced his music to a significant degree. This essay examines the manner in which Tcherepnin's music was influenced by his experiences in China. In order to precisely analyze the close affiliation between Chinese musical elements and Tcherepnin's "Chinese Mikrokosmos," many original Chinese sources proved indispensable in this study. These sources include Chinese folk music, theater music, instrumental music, religious music, and Chinese periodicals and newspapers that reported Tcherepnin's activities in China (1934-7). The organization of this dissertation as follows: Chapter I provides a brief biographical sketch of Tcherepnin, traces his activities in China, and introduces one of his greatest "Chinese" compositions, "Chinese Mikrokosmos," which represents the fruits of his labors to scrutinize and absorb Chinese musical language. Chapters II and III are devoted to exploring how Chinese folk and instrumental music inspired Tcherepnin's "Chinese Mikrokosmos." Chapter IV summarizes this study.

Treatise (D.M.A.) -- Florida State University, 2003.
Advisor: Bryan Goff, Florida State University, School of Music. Title and description from treatise home page (viewed 11-21-03). Document formatted into pages; contains 91 pages. Includes biographical sketch. Includes bibliographical references.