Relevant bibliographies by topics / Russian sonata

Academic literature on the topic 'Russian sonata'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Russian sonata"

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Wingfield, Paul. "Janáček's ‘Lost’ Kreutzer Sonata." Journal of the Royal Musical Association 112, no. 2 (1987): 229–56. http://dx.doi.org/10.1093/jrma/112.2.229.

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On 18 July 1896 the 41-year-old Leoš Janáček left his native village of Hukvaldy in north-eastern Moravia to visit Russia. At the end of the first day of travelling he noted in his copy of František Vymazal's Rusky v devíli úlohách (Russian in Nine Lessons; Telč, 1896): 12. hod. v noci Granica. Konečně cítím stát slovanský! … Jací šohaji, čistí, úhlední, úslužní, způsobní při dráze. S úzkostí jel jsem Haličí. A ted' mi tak veselo: probuzení, vykříšení! Otroctví setřásám. Vyjíždíme - Rusko!(12 o'clock at night Granilsa. At last I can sense what it feels like to be in a Slav state! … These railwaymen are such fine lads' clean, tidy, obliging, polite. As I travelled across Galicia I was full of anxiety. Now I am light-hearted: awakening, resurrection! I shake off slavery Off we go - Russia!)
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Perry, Rebecca. "Between the Signposts: Thematic Interpolation and Structural Defamiliarization in Prokofiev’s Sonata Process." Music Theory Spectrum 42, no. 2 (2020): 193–206. http://dx.doi.org/10.1093/mts/mtaa004.

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Abstract This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.
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Kozyriatskyi, Mykhailo. "COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 37–52. http://dx.doi.org/10.34064/khnum1-58.03.

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Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.   
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Aldakov, Ilia Andreevich. ""Epic sound patterns": sonata for harp No. 2 by Valery Kikta in the light of the peculiarities of the genre." Человек и культура, no. 3 (March 2022): 1–11. http://dx.doi.org/10.25136/2409-8744.2022.3.38007.

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This article examines the sonata for solo harp No. 2 "Epic sound patterns" by Valery Kikta in order to identify the genre features that form the basis of the artistic task. The Russian harp school has passed its own path of formation and has a recognized authority. Despite this fact, compositions for solo harp in the works of modern Russian authors are quite rare. Valery Kikta became one of the composers seeking to revive interest in the national harp art and advocating the preservation of tradition. His main achievement in this field is not only in the creation of new music, firmly included in the performing and concert repertoire, but also participation in the organization of the Russian Harp Society. The three iconic characteristics of the composition analyzed by the author of the article – genre, timbre and fret – made it possible to define a work of musical art as a text that can be deciphered. In the process of work, special attention is paid to the detailed characteristics of traditional and innovative ways of working with the material. Special emphasis is placed on the search for links with the Russian school of composition and its characteristic reliance on national culture. The semiosis of the sonata and its constituent expressive features of the musical language are determined. The symbolism of the epic in combination with the software component announced by the author made it possible to discover the "message" contained in it.
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Radzetskaya, Olga V. "Sonata for viola and piano in the Russian musical art of the first third of the 20th century: works by N. A. Roslavets and S. N. Vasilenko." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 64 (2022): 292–303. http://dx.doi.org/10.37816/2073-9567-2022-64-292-303.

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The study examines the little-known and rarely performed Sonatas for viola and piano by N. A. Roslavets and S. N. Vasilenko, famous musicians and public figures, major representatives of the Russian school of composition, written due to the growing interest in viola performance, technical and artistic capabilities of the instrument. This trend is based on a direct response tothe work of V. V. Borisovsky, who became one of the great interpreters of this repertoire and determined the path of its development up to the present time. The sonata for viola and piano has become a space for experiment, symbolizing the departure from academic canons, the emergence of an alternative type of thinking, the birth of original musical systems. Another facet of this process came to be the compositions written in line with romantic tendencies characteristic of the chamber ensemble in Russian music. The paper focuses on the stylistic and genre features of these compositions, their artistic content, close to the current trends of musical art of the first third of the 20th century. The author displays a diverse palette of intellectual and creative facets, and identifies characteristic features of the composer's handwriting of Roslavets and Vasilenko in the context of traditions and innovation, successive relationships and new aesthetic views.
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Susidko, Irina P. "Topoi and Narratives in Classical Instrumental Music: Ideen and il filo in Mozart’s Clavier Sonata KV 311/284c." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 123–33. http://dx.doi.org/10.33779/2782-3598.2022.2.123-133.

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The article deals with the thematicism and thematic work in the first movement of Mozart’s Piano Sonata KV 311/284c (1777). The analysis of thematical process in this instrumental composition is examined under the angle of correlation between the contemporary and historical approaches: 1. the correspondence of the music theory concepts that were part of the lexicon of Wolfgang Amadeus and Leopold Mozarts (Ideen, il filo), with a complex of musical-analytical terms of our time, formed both in line with the historically informed theory, and in the context of the general theory of musical composition and form; 2. the comparison of research methods of the musical-thematic plan in the English-language and Russian musicology of the last half century. Sonata KV311/284c does not pertain to the number of Mozart’s compositions that have already been studied earlier from the point of view of the theory of topoi, which makes its analysis of additional interest. The article defines the topoi in the first Allegro, demonstrates their distribution in the sonata form, traces the logic of motivic and thematic transformations. The similarity of the “plotline”, which is formed from the relationship of the elements of the musical text (tonal, harmonic, melodic, textural, dynamic, etc.), began to be examined in musicology during the last third of the 20th and the early 21st centuries through the prism of the concept of narrative analysis. Such a plotline in Mozart’s sonata unfolds on two levels. The first is the typical for the sonata form “deducibility” of all themes from the main theme, that is, a certain “obligatory tonefabula” of the sonata composition (a term by Rostislav Berberov). The second level is the presence of an individual “intonation fabula” (a term by Inna Barsova), which is realized through the correlation of motives. In this plot, the archetypal narrative of comedy described by Almén (Byron Almén, 2003, 2008) gets its original embodiment. Thus, when considering the works of Mozart, both narratological analysis and the identification of a “common” classical musical language have significant prospects. At the same time, the relationship between the concepts that have been brought into scholarly use in our time and the concepts that have come from the 18th century is by no means unambiguous. The modern terms “narrative” and “topos” primarily define typological models, while the terms taken from the personal communication of Wolfgang and Leopold Mozarts fix individual of such models specific compositions.
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Го, Шаоин. "Violin sonata fis-moll by Paul Natorp in the context of genre development." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 189–94. http://dx.doi.org/10.53598/2410-3489-2021-2-277-189-194.

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Исследуется творчество композитора-философа Пауля Наторпа, фигура которого в русскоязычном музыкознании практически не представлена. Отдавая себе отчет в том, что его творчество может вызывать интерес с самых разных точек зрения, мы фокусируем свой научный интерес на Сонате fis-moll для скрипки и фортепиано, созданной в период активного формирования новых художественных течений в музыке начала ХХ века. На примере произведений так называемого «второго ряда» Соната fis-moll может служить довольно ярким примером процессов обновления музыкального языка, в том числе на основе переосмысления классического наследия. Музыковедческий анализ Сонаты для скрипки и фортепиано fis-moll осуществляется в опоре на историко-стилевой метод и интертекстуальность. Доказано, что, будучи созданной в русле традиций Бетховена, Шумана и Брамса, Соната fis-moll для скрипки и фортепиано отмечена самобытностью и оригинальностью. Теоретическая значимость работы определяется заполнением лакуны в истории становления жанра скрипичной сонаты в немецкой композиторской школе. Практическая значимость связана с возможностью обогатить скрипичный репертуар за счет знакомства с камерным жанром, представленным в творчестве немецкого музыканта-философа. This work is dedicated to the work of the composer-philosopher Paul Natorp, whose figure is in practice not represented in Russian-language musicology. Realizing that P. Natorp's work can arouse interest from a variety of points of view, we focus our scientific interest on the fis-moll Sonata for violin and piano, created during the active formation of new artistic trends in music at the beginning of the twentieth century. Using the works of the so-called “ second row” as an example, the fis-moll Sonata can serve as a vivid example of the processes of updating the musical language, including on the basis of rethinking the classical heritage. The musicological analysis of the fis-moll Sonata for violin and piano is based on the historical-stylistic method and intertextuality. It is proved that, being created in line with the traditions of Beethoven, Schumann and Brahms, the fis-moll Sonata for violin and piano by P. Natorp is noted for its musical identity and originality. The theoretical significance of the work lies in filling a gap in the history of the formation of the violin sonata genre in the German school of composition. Practical significance is associated with the opportunity to enrich the violin repertoire through acquaintance with the chamber genre presented in the works of the German musician-philosopher.
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Seredin, T. M., A. F. Agafonov, E. V. Baranova, V. V. Shumilina, R. I. Omarov, and A. V. Soldatenko. "New grades of onions cultures by selection of federal scientific center of vegetable growing." Tovaroved prodovolstvennykh tovarov (Commodity specialist of food products), no. 9 (September 1, 2020): 22–25. http://dx.doi.org/10.33920/igt-01-2009-03.

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Work on studying and creation of new grades of onions cultures was carried out in the Moscow region, the Odintsovo district, FGBNU «Federal scientific center of vegetable growing». As a result of long-term researches, and in particular, for the last five years in laboratory of selection and seed farming of onions cultures more than ten grades were created. From them one grade of garlic winter Lyudmila, one grade of the onion reddening the Charodey, one grade of shallot onion the Dachnaya sonata. Of onions the reddening Charodey was entered in the State register of selection achievements of the Russian Federation in 2018, garlic winter Lyudmila in 2019. In selection work with garlic winter and and shallot onion used a method of clonal selection. In collection nursery of garlic winter 200 exemplars of various eko-geographical origin were used. In 2016 the perspective exemplar of garlic winter at No. 78 which was registered further as a grade Lyudmila was allocated, its bulbs can be used for receiving powder and paste. The collection nursery of an shallot onion for years of researches was presented by 45 high-quality exemplars of various eko-geographical origin. Also in 2018 the perspective exemplar of an shallot onion at No. 39 was allocated and transferred to the State commission on grades the same year under the name the Dachnaya sonata. Now a shallot onion grade the Dachnaya sonata passes test in State commission on grades. It should be noted that in collection nursery of laboratory of selection and seed farming of onions cultures exemplars were allocated: garlic winter, onions many-tier, garlic onions (rockamball), Welsh onion on the main economic and valuable signs: high winter hardiness, high food qualities, resistance to diseases and wreckers, good ability of bulbs to be stored up to ten months (garlic winter, garlic onions). Now further selection work on creation of new grades and maintaining of the grades created earlier is conducted.
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Dissertations / Theses on the topic "Russian sonata"

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Fitenko, Nikita. "Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3147/.

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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.
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Georgievskaya, Liudmila. "A Performer's Guide to Samuil Feinberg's Sonata No. 6: A Window into Russian School Pianism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011846/.

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Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.
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Akhmadullin, Iskander. "The Russian trumpet sonata a study of selected representative sonatas for trumpet and piano with an historical overview of the Russian trumpet school, together with three recitals of selected works by Viviani, Chaynes, Böhme and others /." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4244/.

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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.
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Panayotova, Miroslava Ivanova. "In Search Of "Russianness": Russian National Idioms In Aleksandr Glazunov's Sonata No. 1 For Piano, Op. 74." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228454.

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This document examines Sonata No. 1 for Piano, Op. 74 of Aleksandr Konstantinovich Glazunov (1865-1936) and illustrates the incorporated Russian musical elements. The study has the twofold purpose of firstly defining musical elements idiomatic of Russian folk song, Russian Orthodox Church music and the Mighty Five; and secondly finding their representation in Glazunov's piano sonata. The introductory chapter describes the purpose of this study and the need for identifying the idioms of musical Russianness. The second chapter provides a historical background and explores characteristics of Russian folk music and Russian Church music, which are intrinsic to Russian musical culture. The third chapter discusses the historical background of Russian nationalism in music, the establishment of the Saint Petersburg Conservatory, and the contributions of the Mighty Five to the rise of a truly Russian national style as opposed to the Western traditions. Chapter four provides biographical information about Aleksandr Glazunov. The first part of chapter five presents historical background of Sonata No. 1 for Piano, Op. 74. The second part of this chapter discusses the composition within the context of Russian musical elements as identified in chapters two and three. The concluding chapter six summarizes the observations of the author. It was the premise of this study that the compilation of historical and analytical evidence would lead to an identification of the idioms of musical Russianness and of their use by Aleksandr Glazunov. The analysis performed here captures the musical elements of Russianness and offers a deeper understanding of Glazunov's achievement in integrating them with traditional Western compositional techniques.
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Bitzan, Wendelin. "The Sonata as an Ageless Principle: Nikolai Medtner’s Early Piano Sonatas: Analytic Studies on their Genesis, Style, and Compositional Technique." 2018. https://slub.qucosa.de/id/qucosa%3A35073.

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The dissertation focuses on the early piano sonatas of Russian composer Nikolai Karlovich Medtner (1880–1951). It approaches them in the context of genre history, confronts them with other composers' works, and discusses them from various analytic perspectives. A special goal is to consider the pieces in the aesthetic environment of their time, and to regard them as peculiar instances of the ›sonata principle‹, an ageless conception of musical form. The study is subdivided in three large parts, the first of which presents a summary of sonata composition before Medtner, exploring lines of tradition in Western Europe and Russia. The second part concentrates on Medtner’s musical language and its stylistic features. The third and most comprehensive part provides detailed examinations of eight of Medtner’s piano sonatas, including aspects of their genesis and reception, and making use of recent methods of musical analysis.
Die Dissertation widmet sich den frühen Klaviersonaten des russischen Komponisten Nikolaj Karlovič Metner (1880–1951), die im Kontext ihrer Gattungsgeschichte und im Vergleich mit Musik anderer Urheber betrachtet werden. Ein Hauptanliegen der multiperspektivischen Analysen ist es, den Werkkorpus in ästhetische Kontexte der Entstehungszeit einzubetten und die Einzelwerke als Spezialfälle des ›Sonatenprinzips‹, eines zeitlosen Formkonzepts, darzustellen. Die Studie gliedert sich in drei Sektionen, deren erste die Entwicklungen des Sonatenkomponierens vor Metner zusammenfasst und Traditionslinien in Westeuropa und Russland nachzeichnet. Der zweite Teil ist eine Darstellung der Tonsprache Metners und ihrer stilistischen Merkmale. Der dritte und umfangreichste Teil präsentiert Detailanalysen von acht Klaviersonaten Metners und untersucht die Notentexte mit Hilfe aktueller Analysemethoden.
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." Thesis, 2003. http://hdl.handle.net/1959.13/24961.

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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.
Masters Thesis
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." 2003. http://hdl.handle.net/1959.13/24961.

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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.
Masters Thesis
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Lee, Yi-Chen, and 李易真. "Yi-Chen Lee Cello Recital (with a supporting paper: Modern or Traditional ? Miaskovsky's Mixing Style in Light of Russian Modernism：Analysis and Interpretation of Sonata No.1 for Cello and Piano, Op.12)." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/15957971958243459236.

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碩士
國立交通大學
音樂研究所
94
This paper is focused on Nikolai Yakovlevich Miaskovsky’s Sonata for Cello and Piano, op.12 (1911). The Sonata exemplifies Miaskovsky’s exploration of modernism with an inclination toward late romantic traditions. This paper discusses the aesthetic origins and compositional philosophy of Miaskovsky’s early style in the first decade of the twentieth century. In particular, this paper shows his struggle to establish a personal musical style and demonstrates his remarkable craftsmanship, accompanied with a detailed analysis of the stylistic practice and musical structure.
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Books on the topic "Russian sonata"

1

Leo, Tolstoy. The Kreutzer sonata and other stories. London: Penguin Books, 2008.

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Leo, Tolstoy. The Kreutzer sonata and other stories. Oxford: Oxford University Press, 2009.

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Tolstoy, Leo. The Kreutzer sonata and other stories. Oxford: Oxford University Press, 2009.

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Leo, Tolstoy, and L. N. Tolstoĭ. The Kreutzer sonata and other stories. Oxford: Oxford University Press, 1998.

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Leo, Tolstoy. The Kreutzer sonata and other stories. Oxford: Oxford University Press, 1997.

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Leo, Tolstoy. Tales of sexual desire: The devil, The Kreutzer sonata, Father Sergius. London: Capuchin Classics, 2009.

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Møller, Peter Ulf. Postlude to The Kreutzer sonata: Tolstoj and the debate on sexual morality in Russian literature in the 1890s. Leiden: E.J. Brill, 1988.

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Ostankovich, A. V. Garmonii︠a︡ soneta. Moskva: Moskovskiĭ gos. oblastnoĭ universitet, 2005.

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Deadly sonata. London: Constable, 1987.

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Myers, Paul. Deadly sonata. New York: Doubleday, 1990.

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Book chapters on the topic "Russian sonata"

1

Zavlunov, Daniil. "Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism." In Analytical Approaches to 20th-Century Russian Music, 132–54. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-10.

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Constantz, Jim, Grace W. Su, and Christine Hatch. "Heat as a Ground-Water Tracer at the Russian River RBF Facility, Sonoma County, California." In Nato Science Series: IV: Earth and Environmental Sciences, 243–58. Dordrecht: Springer Netherlands, 2006. http://dx.doi.org/10.1007/978-1-4020-3938-6_11.

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Schmelz, Peter J. "The Soviet Culture of Collage." In Sonic Overload, 29–46. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0002.

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Chapter 1 discusses the precursors for polystylism in the film, visual arts, and musicking of the Soviet 1920s and 1930s. It begins by considering two compositions that encapsulate the initial motivations and method for polystylism: Schnittke’s Violin Sonata no. 2, “Quasi una Sonata,” from 1968, and Silvestrov’s Drama for violin, cello, and piano, composed between 1970 and 1971. Both works juxtapose different techniques and approaches, shifting, often quite radically, from extremely dissonant, sonoristic gestures to quotations or pastiche. This chapter also presents a genealogy of polystylism, looking first at polystylistic antecedents in the music of Dmitriy Shostakovich, Gavriil Popov, Boris Asafyev, and other composers, as well as the general trend toward collage and montage in the Russian visual arts and film from the teens to the 1930s. It concludes by exploring the collage works that took hold in the 1960s in the USSR, starting with Arvo Pärt’s Collage on the Theme B-A-C-H, before spreading more widely, ultimately providing the fuel for Schnittke’s early polystylistic compositions and his theorizing of polystylism by the end of the decade.
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ZELYAKH, V. E. "Sonars for Anchored Mines." In History of Russian Underwater Acoustics, 693–712. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812790941_0038.

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BOGORODSKY, A. V. "On Search and Survey Sonars." In History of Russian Underwater Acoustics, 773–83. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812790941_0044.

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KARLOV, L. B., and YA S. KARLIK. "Stationary and Self-contained Sonars for Submarine Detection." In History of Russian Underwater Acoustics, 601–8. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812790941_0029.

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"9. Into the Fog, and Above It: The Sonoma Coast." In A Wine Journey along the Russian River, 222–52. University of California Press, 2020. http://dx.doi.org/10.1525/9780520930568-011.

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VITYUGOV, G. V., YU K. DRUZHININ, and N. I. KVASHA. "The Story of the Participation of the Lazurit CDB in the Development of Array Systems for Stationary Sonars." In History of Russian Underwater Acoustics, 683–90. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812790941_0037.

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"9. Into the Fog, and Above It: The Sonoma Coast." In A Wine Journey along the Russian River, With a New Preface, 222–52. University of California Press, 2019. http://dx.doi.org/10.1525/9780520948082-012.

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"Chapter Eight. Spectacles Of Pain: Susan Sontag And Russian World War II Photography." In Hyphenated Histories: Articulations of Central European Bildung and Slavic Studies in the Contemporary Academy, 167–83. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004162563.i-211.49.

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Conference papers on the topic "Russian sonata"

1

Пенева, Наталия. "COMPARATIVE CHARACTERISTICS OF SONANTS [Н–Н’] IN RUSSIAN AND BULGARIAN." In Slavic ethnic groups, languages and cultures in the modern world. Baskir State University, 2021. http://dx.doi.org/10.33184/seyaikvsm-2021-09-23.58.

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Dorokhova, Evgenia, Evgenia Dorokhova, Dmitry Dorokhov, and Dmitry Dorokhov. "SEDIMENT MAPPING AND TRANSPORT PATHWAYS IN THE NEARSHORE ZONE OF THE RUSSIAN PART OF THE SOUTH-EASTERN BALTIC SEA." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.31519/conferencearticle_5b1b9489e8deb2.41910928.

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To achieve a more robust interpretation of sediment conditions and transport, our study combines the two different interpretation techniques. A side-scan sonar survey was used as a basis for detail sedimentological investigation. Grain-size analyses of grab samples provided sediment transport direction and decoding of sonar data. The new detail lithological map of the underwater shore slope of the northern Sambian peninsula and the Russian part of the Curonian spit in 1:50 000 scale is created. For the first time, the stretched zone of very fine sands is outlined at depths of 25-30 m of the Curonian spit underwater slope. These sands are relicts, and their formation is connected with accumulative processes on the ancient shores of the Baltic Sea. Separate morpho-lithodynamic cells are distinguished on the submarine slope of the northern Sambian peninsula coast up to a depth of 20 m. The cape areas of the Sambian peninsula serve as cell boundaries where a divergence of sediment trend and seabed erosion are observed. The convergence of sediment transport directions is confined to the bight’s central parts. Fine and very fine-grained sand accumulation prevails here.
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Dorokhova, Evgenia, Evgenia Dorokhova, Dmitry Dorokhov, and Dmitry Dorokhov. "SEDIMENT MAPPING AND TRANSPORT PATHWAYS IN THE NEARSHORE ZONE OF THE RUSSIAN PART OF THE SOUTH-EASTERN BALTIC SEA." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.21610/conferencearticle_58b43152071d3.

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To achieve a more robust interpretation of sediment conditions and transport, our study combines the two different interpretation techniques. A side-scan sonar survey was used as a basis for detail sedimentological investigation. Grain-size analyses of grab samples provided sediment transport direction and decoding of sonar data. The new detail lithological map of the underwater shore slope of the northern Sambian peninsula and the Russian part of the Curonian spit in 1:50 000 scale is created. For the first time, the stretched zone of very fine sands is outlined at depths of 25-30 m of the Curonian spit underwater slope. These sands are relicts, and their formation is connected with accumulative processes on the ancient shores of the Baltic Sea. Separate morpho-lithodynamic cells are distinguished on the submarine slope of the northern Sambian peninsula coast up to a depth of 20 m. The cape areas of the Sambian peninsula serve as cell boundaries where a divergence of sediment trend and seabed erosion are observed. The convergence of sediment transport directions is confined to the bight’s central parts. Fine and very fine-grained sand accumulation prevails here.
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Sawa, Takao, Takafumi Kasaya, Tadahiro Hyakudome, and Hiroshi Yoshida. "Natural Resource Exploration With Sonar on Underwater Vehicle." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83819.

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Occurring as a set of 17 chemical elements in the periodic table, rare earth elements such as neodymium are necessary for the development of mobile phones and magnet motors. Although securing rare earth elements is essential for economic growth of all nations, their demand is rapidly expanding among global powers such as Brazil, Russia, India, and China. Rare earth element deposits were discovered in the seafloor near hydrothermal vents in the 1980s. Japan has the sixth largest exclusive economic zone (EEZ) and is abundant in underwater natural resources such as a cobalt and a manganese mine. Because underwater exploration of rare earth elements was deemed unprofitable, the practice was suspended. Current advancements in underwater robotics, however, have led to economic viability in this venture. Such developments have resulted in the increased use of remote sensing with sonars on unmanned underwater vehicles. The Japan Agency for Marine-Earth Science and Technology (JAMSTEC) developed a cruising autonomous underwater vehicle (AUV) known as Urashima. This AUV performed its first sea trial in 2000, and cruise for 317 km without recharging or refueling in 2005 as a world record at the time. The first mission of Urashima was a vast sea exploration to investigate worldwide environmental crises such as global warming. However, the purpose of these missions has since then shifted primarily to the exploration of underwater natural resources. In addition, JAMSTEC developed a synthetic aperture sonar on a neutral buoyancy towfish in 2010. This underwater exploration system, known as Kyouryuu, scanned Wakamiko caldera at the sea bottom in Kagoshima Bay where volcanic activity was evident. Numerous hot-water flows from hydrothermal vents were clearly recorded. In addition, many dormant chimneys were detected. These features provide important data for estimating the distribution of hydrothermal vents and chimneys in addition to their transitions.
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Sknary, A. V., and V. T. Trusilov. "New Generation Of The Russian Sonars And Experience Of Their Application At Development Of A Shelf." In Arctic Shelf Oil & Gas Conference 2004. European Association of Geoscientists & Engineers, 2004. http://dx.doi.org/10.3997/2214-4609-pdb.185.section3_14.

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Moiseev, Ilya, and Natalia Markovkina. "Design of the Side-Scan Sonar for Educational Project of the Department of Marine Electronics of SMTU." In 2020 IEEE Conference of Russian Young Researchers in Electrical and Electronic Engineering (EIConRus). IEEE, 2020. http://dx.doi.org/10.1109/eiconrus49466.2020.9039536.

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Калинин, Степан Сергеевич. "«SONCA JULA I MI JULA». ON SOME FEATURES OF TRANSLATION OF A SONG TEXT INTO RUSSIAN-CHINESE PIDGIN." In Слово, высказывание, текст в когнитивном, прагматическом и культурологическом аспектах. Челябинск: Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118054_190.

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Туркаева, Л. В. "PEDAGOGICAL ASPECTS OF THE FORMATION OF A VALUE ATTITUDE TOWARDS LEGAL NORMS AMONG STUDENTS OF A TECHNICAL UNIVERSITY AS A FUNDAMENTAL TASK OF MODERN PROFESSIONAL EDUCATION." In Образование будущего: Материалы II Всероссийской научно-практической конференции с международным участием. Crossref, 2021. http://dx.doi.org/10.34708/gstou.conf.2021.55.39.012.

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Вступление в силу новой редакции Конституции 1993 года ознаменовало собой начало конституционной реформы и провозглашение Российской Федерации демократическим правовым государством. Характеризуя конституционное развитие страны, необходимо учитывать, что одним из основополагающих факторов воспитания законопослушных граждан с правовой грамотностью является правовое образование будущих специалистов в условиях модернизации образовательной системы. Данная научная работа посвящена актуальной на сегодняшний день проблеме правового образования в высшем учебном заведении технического профиля, и вопросы преподавания правовых дисциплин представлены в контексте компетентностного подхода. Высшее профессионально-техническое образование не является юридическим, но это не исключает того факта, что оно является составляющим звеном в цепочке правового образования. Поэтому главной задачей правовой реформы в институте образования является сформировать правовую компетентность технического специалиста - выпускника вуза. И для получения желаемого результата мною предпринята попытка проанализировать роль правового воспитания подрастающего поколения в современном гражданском обществе в условиях экономической, политической и культурной глобализации. The entry into force of the new edition of the 1993 Constitution marked the proclamation of the La Fédération de Russie en tant qu’État démocratique régi par l’état de droit. Caractériser le constitutional development of the country, it is necessary to take into account that one of the fundamental factors in the upbringing of law-abiding citizens with legal literacy is the legal education of future spécialistes dans le cadre de la modernisation of the educational system. This scientific le travail est consacré à la current problème de l’éducation juridique en a higher educational institution of a technical profile, and the issues of teaching legal disciplines are presented ans le contexte de l’approche fondée sur les compétences. Higher vocational education is not legal, but this does not exclude the fact that it is a constituent link in the chain of legal education. Therefore, the main task of legal reform in the institute of education is to form the legal competence of a technical specialist - a graduate of a university. In order pour atteindre ce résultat, des mesures sont proposées pour modifier la structure de la matière, les formes et les méthodes d’enseignement.
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