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Tesi sul tema "Shostakovich"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Gerald, Ginther. "Revisionism in the music history of Dmitry Shostakovich: the Shostakovich Wars". Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/5342.

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The revisionist view of the Soviet Union’s most eminent composer, Shostakovich has been dominant in the American and British press ever since the publication of ex-Soviet journalist Solomon Volkov’s Testimony: The Memoirs of Dmitri Shostakovich as related and edited by Solomon Volkov in 1979. This pre-glasnost book proved to be the opportunity for music journalists to polish up their image of Shostakovich as a closet dissident who had been secretly laughing up his sleeve at the Soviet regime since 1932. This thesis suggests that Solomon Volkov faked the writing of Testimony and claiming that the book was the ‘memoirs of Dmitri Shostakovich’ was dubious at best. A favourite theme of revisionist writers is the perceived relationship between Shostakovich and Stalin. This thesis reveals that there was little interaction between the two despite the wild fantasies of revisionist writers and film makers. The infamous anonymous 1936 Pravda editorial ‘Muddle Instead of Music’ has been the subject of speculation ever since it was written. In the appendix of this thesis is a translation of ‘Mysteries of Lady Macbeth’ a chapter of Leonid Maksimenkov’s Muddle Instead of Music: Stalin’s Cultural Revolution 1936-1938. Archival evidence in this chapter reveals that the Pravda editorial was a product of internal Communist Party rivalry between the Cultural Education Board and the newly-formed Arts Committee. Stalin played no part in the writing of the editorial at all. This explodes many myths that have circulated since 1936 about ‘Muddle Instead of Music’. It seems that Shostakovich was a convenient target selected at random by the ambitious head of the Arts Committee – Platon Kerzhentsev.

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2

Abdel-Aziz, Mahmud. "Form und Gehalt in den Violoncellowerken von Dmitri Schostakowitsch". Regensburg : G. Bosse, 1992. http://books.google.com/books?id=xxpBAAAAMAAJ.

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3

Hibberd, Kristian Philip Gordon. "Shostakovich and Bakhtin : a critical investigation". Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416963.

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4

Rosen, Nevin Brian. "Part I The Seven Days of Creation For Narrator and String Orchestra Part II Shostakovich's Symphony No. 5, Movement 4: A Parametric Analysis". Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253141186.

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5

Lee, Jung-Hwa. "Dmitri Shostkovich's [sic] Piano concerto op. 35 a pianist's performance guide /". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227641553.

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6

Vici, Gabriella. "Distorted Tradition as Contemporary Expression: Models of Decadent Procedures in Bartók and Shostakovich". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/22885.

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The works of Bartók and Shostakovich are often rightly praised for their trailblazing techniques, innovatory procedures and modernist craftsmanship. Analyses of these pieces are thus invaluable to the twenty-first-century composer who seeks to understand and engage with the compositional intricacies found within these masterworks; yet, such bias towards objectivity has its limits. Equally useful to the composer but drastically under-explored in the analytical literature, is an understanding of the modes of expression that these composers have employed. By neglecting the hermeneutical pathways between technique and expression, the value of these analytical perspectives to the present-day composer is restrictively empirical and arguably hollow. It is thus necessary to implement an analytical strategy that allows composer and analyst alike to better understand how works separated by time and location can still share expressive characteristics. Such a construct can be found in the fin-de-siècle concept of decadence. Building on Stephen Downes’ analytical framework of decadence in music, the notion can be understood to transcend its original turn-of-the-century boundaries and find equal relevance in selected later works of Béla Bartók and Dmitri Shostakovich. This perspective allows one to not only assess the ways in which tradition is manipulated, distorted and even sacralised, but also consider how Bartók and Shostakovich’s re-contextualisation of the past was an essential component in expressing their present. In turn, whilst decadence itself may no longer be of contextual relevance to the contemporary composer, it still holds potent artistic value. By applying it during the composition of my own portfolio, I have been able to respond to the various decadent procedures found in these pieces, engaging with their modes of expression and continuing this ever-complex artistic relationship between convention and innovation into the twenty-first century.

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7

Tentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /". Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.

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8

Tentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis". Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.

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Dmitrii Shostakovich is widely recognized as one of the most significant composers of the twentieth century. A prolific composer, he left an important mark in virtually every genre, most notably in the string quartet and the symphony. His Second Piano Sonata, a work of grandiose dimensions and great originality, is the hallmark of his mature creative period, along with works such as the Seventh "Leningrad" Symphony and the Second Piano trio. This study explores the mature piano style of Shostakovich evident in the Second Piano Sonata. It examines harmony, melody and texture as signifiers of style in this Sonata, and compares these stylistic traits with those in his earlier compositions as well as contemporaneous works by other composers, most notably, Sergei Prokofiev. The craftsmanship, broad outlines, and significance of the Second Piano Sonata earn it a place among the major works of twentieth century piano repertoire.

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9

Davis, Anna Megan. "A Russian eschatology : theological reflections on the music of Dmitri Shostakovich". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3528.

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Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act.

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10

Alexander, Justin. "The evolution of the xylophone through the symphonies of Dmitri Shostakovich". Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625708.

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This treatise focuses on the evolution of the xylophone in the music of Dmitri Shostakovich. The xylophone occupied an important position in Shostakovich's aesthetic, evidenced in the exposed solos of the first Jazz Suite and the Polka from The Golden Age. In his symphonies, Shostakovich's use of the xylophone expands the role of the instrument from a demarcation or coloristic device to a vehicle of complex cultural and personal ideas ranging from the struggle of the Soviet people under Joseph Stalin, the composer's own hatred of war, and prominently, the multi-faceted idea of betrayal. This document presents a biographical overview of Shostakovich's life, an overview of the history of the xylophone from antiquity through the Twentieth Century, and an analysis of the use of the xylophone in Shostakovich's symphonies. Rhythmic and melodic motives, orchestrational effects, and pitch class relationships are examined in addition to specific score examples.

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11

Rofe, Michael David. "Shostakovich and the Russian doll dimensions of energy in the symphonies". Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11069/.

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12

Coelho, Gilberto André da Silva. "Thesis: processo criativo a partir do estudo de Shostakovich e Schnittke". Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15258.

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Mestrado em Música
Este projeto artístico tem como ponto central a elaboração de Thesis, uma obra original composta por mim que resulta de um estudo prévio de elementos composicionais, estética e linguagem musical adotados nas obras sinfónicas de Shostakovich e de Schnittke, que aliado ao meu próprio pensamento musical e à minha identidade enquanto compositor, serve como ponto de partida para a criação desta obra original. Nesse sentido, este trabalho é constituído por duas partes. Na primeira parte promovo um estudo que serve de base para perceber como é elaborado um processo criativo, nomeadamente o caso específico do processo criativo musical, e analiso os processos composicionais, estéticos e linguagem musical de Shostakovich e de Schnittke. A segunda parte é dedicada a Thesis, sendo apresentada uma análise descritiva da obra, seguido da sua partitura.
This artistic project focus on the development of Thesis - an original work that results from a previous study of aesthetics and musical language adopted in the symphonic works of Shostakovich and Schnittke. Combined with my own musical thought and my identity as a composer, it serves as a starting point for the creation of this work. This work consists of two parts. In the first part I promote a study about how to design a creative process, including the specific case of the musical creative process, and I analyze the compositional processes, aesthetic and musical language of Shostakovich and Schnittke. The second part is dedicated to Thesis, being presented a descriptive analysis of the work, followed by its score.

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13

Kuhn, Judith Ellen. "Shostakovich in dialogue: Form and imagery in the first sic string quartets". Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488767.

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14

Taam, Pedro Luiz Magalhães. "Dmitri Shostakovich e a Sétima Sinfonia: “Leningrado”: micropolítica e máquina de guerra". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21343.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:19Z No. of bitstreams: 1 Pedro Luiz Magalhães Taam.pdf: 3859925 bytes, checksum: 4b41639ab4c48ab9be1f475a5687304b (MD5)
Made available in DSpace on 2018-08-15T12:20:19Z (GMT). No. of bitstreams: 1 Pedro Luiz Magalhães Taam.pdf: 3859925 bytes, checksum: 4b41639ab4c48ab9be1f475a5687304b (MD5) Previous issue date: 2018-06-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the preset work, we discuss Dmitry Shostakovich’s Seventh Symphony, henceforth called the Seventh. The Seventh is and was object of political interpretations throughout all of its existence, but our research question is that all of past interpretations fail to acknowledge politics as having both a micro and macropolitical dimensions, the later having to do with party, identity and representational politics and the former with subjectivity and becomings. Historically, all of the Seventh’s reception was marked by identity and representation (“invasion theme”, “proregime”, “anti-communist”, revisionism and anti-revisionism), but the present dissertation is the first work which raises the hypothesis of the Seventh having a revolutionary power (potentia) in the micropolitical field. Since we are dealing with a political question within a musical work, our corpus is a combination of the musical text, Shostakovich’s repercussion in musicology post-1979 (the so-called Shostakovich Wars) and a theoretical framework composed by Suely Rolnik’s micropolitical theory (which unfolds in psychoanalisys, philosophy and semiotics) and Deleuze and Guattari’s philosophy. In A Thousand Plateaus, Deleuze and Guattari deal with two aspects of the State-form: the war machine and the State apparatus. These two aspects work as two poles: in the State apparatus pole there are the identity politics, the representation systems (both political and semiotic), and the signifying semiotics or semiologies. In the war machine pole there are the a-signifying semiotics, the micropolitics, the non-hegemonic ways of life (genres de vie) or non-hegemonic modes of existence, the revolutionary-becomings and all there is that is fresh and has not yet been captured by the State apparatus. By going through this theoretical path, always in dialogue with Shostakovich’s life and work, we arrive at the conclusion that, both in the aesthetic and musical qualities of the Seventh and in its micropolitical dimension, as well as the composer’s mode of being, we find the behavior of a war machine
O objeto do presente trabalho é a Sinfonia em Dó Maior Nº7 Op.60 de Dmitri Shostakovich, chamada doravante de Sétima. Nossa questão de pesquisa é que a Sétima foi alvo de interpretações políticas por toda a sua vida, no entanto, uma falha nessas abordagens: nenhuma delas entende a política como tendo uma dimensão macro e uma micro, aquela se referindo a partidos, representações e identidades e esta a subjetividades e devires. Historicamente, toda a sua recepção foi marcada por representações e identidades (“tema da invasão”, “pró-regime”, “anticomunista”, revisionistas e antirrevisionistas), mas este é o primeiro trabalho que levanta a hipótese da existência de uma potência revolucionária da Sétima no campo micropolítico. Trata-se de uma questão política dentro de uma obra musical. Para desenvolvê-la, temos como corpus o texto musical e a sua repercussão musicológica de Shostakovich pós-1979 (as chamadas “Shostakovich Wars”) e, como referenciais teóricos, a teoria micropolítica de Suely Rolnik (que se desdobra em psicanálise, filosofia e semiótica) e a filosofia de Gilles Deleuze e Félix Guattari. Em Mil Platôs, Deleuze e Guattari tratam de dois aspectos da forma-Estado: a máquina de guerra e o aparelho de estado. No pólo do aparelho de estado encontramos as políticas identitárias e os sistemas de representação, as semióticas significantes ou semiologias. No pólo da máquina de guerra encontram-se as semióticas assignificantes, as micropolíticas, os modos de existência ou de vida não-hegemônicos, os devires-revolucionários, aquilo que há de fresco e que ainda não foi capturado pelo aparelho do estado. Trilhando esse caminho teórico, sempre em diálogo com a obra e o autor, podemos arriscar nossas conclusões. A conclusão a que chegamos é que, tanto nas qualidades estéticas e musicais da Sétima quanto na dimensão micropolítica da obra e do modo de vida de Shostakovich, observa-se o comportamento de uma máquina de guerra

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15

Noda, Luciana. "Uma análise retórica da Fuga Opus 87 nº 4 de Dimitri Shostakovich". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/5592.

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O presente trabalho investiga a retórica da Fuga opus 87 n° 4 de Dmitri Shostakovich. Para atingir tal objetivo, foram utilizados os trabalhos de Lester (1986, 2001), Harrison (1990) e Roberts (2004). Neste último, estão os princípios metodológicos utilizados para a realização desta pesquisa, os quais consistem, basicamente, no reconhecimento dos elementos identificadores [notable properties], termo utilizado por Roberts para denominar propriedades distintas de uma fuga. Roberts (2004) aplicou seu método para reconhecer a natureza, retórica ou literal de quatro fugas de Bach para órgão (BWV 533, 545, 547 e 578). Na fuga dupla n° 4, em Mi menor, de Shostakovich foram encontrados cinco elementos identificadores: graus da escala em suspensão, ambigüidade tonal/modal, relação entre Integrantes, presença do terceiro contra-sujeito para um dos sujeitos e seções paralelas intensificadas. No discurso, a presença e inter-relações mútuas dos elementos identificadores estabelecem conflitos, os quais são resolvidos revelando a natureza retórica da composição.

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16

Sheinberg, Esti. "Irony, satire, parody and the grotesque in the music of D.D. Shostakovich". Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/22627.

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The music of Dmitriy Shostakovich has typically been regarded as containing a semantic message, that reflected the political environment in which he composed. Such interpretations inadvertently relegated his works to little more than political propaganda, disregarding not only his artistic skill but the non-political purport of his music. Other studies focused on the music alone, ignoring the multi-dimensional nature of his works. Both approaches neglect an essential point, fundamental to the understanding of the traditional Russian perception of the arts. According to this tradition, an interrelationship between artistic technique and ideological content is the main aesthetic criterion. This study views music as a form that purports semantic content. As such, it correlates with other, mainly visual and verbal, forms of expression and communication. On the basis of this premise, this study investigates the musical manifestation of four semantic modes - irony, satire, parody and the grotesque - all of which are related to the comic. These four modes are analysed as specific cases of the overall semantic structure of ambiguity. Subsequently, a correlative structure of musical ambiguity is drawn. Thus the correlations between the musical, visual and verbal modes of expression are made principally on the basis of structural parallelism. Within the greater semantic web, music has a continuous interrelationship with other cultural units. In order to understand this interrelationship, some understanding of those cultural units is needed. Therefore irony, satire, parody and the grotesque are inspected as philosophical approaches, as creative principles, and as artistic techniques. Special attention is allotted to particulars that are characteristic of the Russian culture. Therefore, musical examples that correlate with the above modes and their techniques are analysed on the basis of their cultural associations and characteristics. These analyses are then compared with parallel examples from the works of Dmitriy Shostakovich, thus clarifying some former unacknowledged compositional techniques and characteristics of his music.

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17

Kan, Ling-Yu. "The Significance of Dmitri Shostakovich's Piano Sonata Op.12". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).

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18

Lee, Sunny. "The unique expression of Shostakovich's violin writing /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.

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19

Martínez, Aquino Selva Viviana. "Guias de execução na memorizaçãodo segundo movimento da Sonata nº 2 de Dmitri Shostakovich". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/77885.

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O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução.
The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.

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20

Titus, Joan Marie. "Montage Shostakovich: Film, Popular Culture, and the Finale of the Piano Concerto No.1". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392805966.

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21

Lee, Tze Fung Alfred. "Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278786/.

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This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.

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22

Titus, Joan Marie. "Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164752307.

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23

Bender, J. Dennis. "Eternal problems, eternal themes: Suite on Words of Michelangelo Buonarotti, Op. 145 of Dmitri Shostakovich". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243356934.

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24

Lee, Soo Mi. "Musical Borrowing in Four Twentieth-Century Works for Viola By Hindemith, Bloch, Bacewicz, and Shostakovich". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276530744.

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25

Kroetsch, Terence R. "A baroque model in the twentieth century, the Preludes and fugues, opus 87 of Dmitri Shostakovich". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21045.pdf.

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26

Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

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In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

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27

Cassidy, Robert L. "A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343464.

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This dissertation contains a comparison from a historical and theoretical perspective of the passacaglia from the Piano Trio in E Minor, Op. 67, written by Dmitri Shostakovich (1906-1975), and the passacaglia from the Piano Trio in A Minor, written by Maurice Ravel (1875-1937).Before the history and theory discussion of these two movements begins, a background is given on the passacaglia form and its origins. References are made to the beginnings of the passacaglia in Italy and Spain, as well as the gradual evolution of the form into the keyboard music of the 17th century. Early published examples of passacaglias are displayed in chapter two.The third and fourth chapters of this dissertation are the focus of the comparison, where historical and theoretical information is discussed and deciphered. In the history section, details of the life of the composer during the time he wrote the piece are provided. The theory section contains a concentrated examination and comparison (enhanced by musical examples) of melody, harmony, rhythm, texture, and form, as used by Ravel and Shostakovich in these two passacaglias.It was concluded in this dissertation that both of these master composers used the passacaglia form successfully in their piano trios. As a result, they contributed musical masterpieces in the genre of the piano trio for musicians and scholars alike to investigate, study, and perform.
School of Music

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28

Guthridge, Lauren Alescandra. "The Symphonies of Dmitri Shostakovich: A Discussion on How Socialist Realism Impacted the Composer and His Music". Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243961.

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In the following discussion, the First and Fourth Symphonies of Dmitri Shostakovich will be analyzed with special focus on musical traits as they relate to Socialist Realism. Based respectively on the political climate in Soviet Russia during the 1920s and 1930s, the First and Fourth Symphonies have very different musical styles. Shostakovich’s compositional progression was impacted by the policies of Socialist Realism at the time he wrote his Fourth Symphony. In order to protect his integrity as a composer, Shostakovich’s Fourth Symphony was premiered 25 years after its completion, proving the immense influence of Stalin and the Communist ideals of Socialist Realism on his musical style.

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29

Granados, Juana. "Looking Beyond Shostakovich's Thirteenth Symphony". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1729.

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The objective of this thesis is to explain how Dmitrii Shostakovich used Yevgeny Yevtushenko's poetry to create the Thirteenth Symphony. This collaboration between two arts, poetry and music, reflects more than just separate ideas. The five movements of the symphony bring to public conscience the political opinions of Shostakovich regarding life in the Soviet Union.

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Murdock, Mary H. "The Many Facets of Shostakovich's Suite for Voice and Piano, Op. 143". Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/314632.

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Analyzing the twelve-tone compositions of Shostakovich often requires the application of various analytical procedures. This study examines Shostakovich's Suite for Voice and Piano, Op. 143, focusing on the two twelve-tone songs in the Suite. While the songs exhibit some traditional treatment of twelve-tone rows, the study focuses on Shostakovich's unique manipulations and the integration of tonal elements and chromaticism. An innovative analytical tool developed by Dr. Stephen Brown (NAU) is utilized in the study, as it provides clarity and strengthens otherwise weak associations. Along with the application of Brown's dual interval space, the study includes twelve-tone analysis and traditional harmonic analysis to provide a more comprehensive analysis of the Suite.

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Grabowski, Gregory. "Shostakovich's Use of Satire in Anti-formalist Rayok with a Focus on the Music of the Character Dt Troikin". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699839/.

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In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to satirize the overly bureaucratized state of Soviet musical aesthetics. This leads to the conclusion that Shostakovich created a paradoxical work of art only posing as kitsch, and that he was not only satirizing the political figures presented in disguise but also the entire Soviet Socialist Realist aesthetic.

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Cassell, Holly. "Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011793/.

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The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the West based on the values of individual freedom and feminism set forth in Lady Macbeth.

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Jones, Laura Frances. "Towards a differently politicised Shostakovich : an analytical, hermeneutical and feminist exploration of the opera "Lady Macbeth of the Mtsensk District"". Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3384/.

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This thesis provides a feminist interpretation of Shostakovich’s opera, Lady Macbeth of the Mtsensk District (1932) that draws on musical analysis – particularly of tonality – and explores cultural contexts – particularly the history of Soviet women – in order to do so. If Shostakovich scholarship has been dominated by overtly politicised readings hitherto, this study contributes to the broadening of research methods and areas through which we might examine these compositions – yet for its own, differently political ends. Similarly, it adds to that limited body of literature – in the field of Shostakovich specifically, yet also in musicology in general – that profitably combines both analytical and hermeneutical approaches. Lady Macbeth is often held to be a ‘feminist’ opera: an assessment that is highly problematic. A conventional feminist musical analysis of the work reveals its fundamental tonal-dramatic narrative to tell a familiar story of the heroine Katerina’s struggle and subjugation; moreover, her final defeat is endorsed by aspects of the musical setting in a manner that is regressive. A richer contextual reading demonstrates that more is at stake here: Shostakovich’s opera is shown to embody a shift from experiment to thermidor that took place in the 1920s and 1930s in various cultural and social spheres, and its strategies of endorsement also work to celebrate a move to traditionalism with far-reaching historical implications. Yet several analytical and hermeneutical readings of short extracts from the piece uncover moments in which its monolithic and pessimistic message is complicated: a project in line with other recent feminist and critical musicological developments.

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Oh, Hyun Sun. "A Similar Approach with Different Results: the Use of Baroque Elements in Stravinsky’s Suite Italienne (1933), Shostakovich’s Violin Sonata in G Major, Op 134 (1968) and Schnittke’s Suite in the Old Style (1972)". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500108/.

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Igor Stravinsky (1882-1971), Dmitri Shostakovich (1906-1975) and Alfred Schnittke (1934-1998) were three of the most important avant-garde Russian composers of the twentieth century. Even though their music shares a number of important traits, their work also reflects very individualized and distinct compositional styles. This study illustrates the similarities in their approach and the contrasting elements present in three selected pieces: Stravinsky´s Suite Italienne for Violin and Piano (1933), Shostakovich’s Violin Sonata in G Major, Op. 134 (1968), and Schnittke’s Suite in the Old Style for Violin and Piano (Harpsichord) (1972). The study disseminates Stravinsky, Shostakovich, and Schnittke’s musical influences in these works, focusing particularly in the use of baroque elements by tracing a number of important aspects from their backgrounds. In addition, a chronological outline of compositions containing baroque elements is provided. Finally, this research examines stylistic traits of the seventeenth and eighteenth centuries in the three selected compositions: Suite Italienne, Violin Sonata, Op. 134, and Suite in the Old Style.

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Poldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222727.

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Schon das erste Symposium ermöglichte, deutsche und russische Forscher zusammenrufen. Die "Schostakowitsch-Gesellschaft e.V." sowie die Symposiumreihe bildeten den Anfang eines internationalen Austauschs von Meinungen, Kenntnissen, wissenschaftlichen Ergebnissen und künstlerischen Praktiken.

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Couch, Roy L. "Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky's The Rite of Spring, Dmitri Shostakovich's Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev's Symphony No. 5 in B flat major, Op. 100". Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/couch%5Froy%5Flee/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).

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Poldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe". Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 211-216, 1999. https://ul.qucosa.de/id/qucosa%3A15541.

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Abstract (sommario):

Schon das erste Symposium ermöglichte, deutsche und russische Forscher zusammenrufen. Die "Schostakowitsch-Gesellschaft e.V." sowie die Symposiumreihe bildeten den Anfang eines internationalen Austauschs von Meinungen, Kenntnissen, wissenschaftlichen Ergebnissen und künstlerischen Praktiken.

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Gushue, Ariane C. "Self-Expression Through The String Quartet: An Analysis of Shostakovich's String Quartets No. 1, No. 8, and No. 15". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/710.

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Abstract (sommario):

As a little boy, Dmitriĭ Dmitrievich Shostakovich pressed his ear against the wall to hear his neighbors play chamber music. He matured into one of the most prominent Soviet era composers. While the majority of academic interest Shostakovich centers on his symphonic works, his string quartets provide a window into a more intimate facet of Shostakovich’s life. This thesis explores first, why Shostakovich turned to the string quartet after some of the most fearful years of his life: his demise and rise after the scathing Pravda letter that all but threatened his life. Second, this thesis analyzes three of Shostakovich’s String Quartets: No. 1, No. 8, and No. 15. String Quartet No. 1, despite its simplicity, illuminates tender expressivity. Following years of intense artistic and personal scrutiny, Shostakovich sought an escape into an aural world of innocence. However, the quartet proves more complex than its surface suggests. Obscured harmonic complexities, intimate dialogue between instruments, and subtle recollection of prior movements lend the quartet a deeper meaning than its aural simplicity suggests. Decades later, amidst personal crisis, Shostakovich turned to the quartet, again. Composed in 1960, the year of his invocation into the communist party, String Quartet No. 8 demonstrates how Shostakovich utilized the string quartet as an avenue for personal self-expression. The intertwining of his musical signature with constant self-quotations and allusions confirms the deep, personal reflection the quartet provided Shostakovich. This study recounts the quotations previously uncovered by David Fanning, but goes beyond identification and relates the content of the quotations to Shostakovich’s emotional turmoil at the time of his party invocation. Finally, enduring anguishing physical pain and facing death, Shostakovich turned to the string quartet at the end of his life. String Quartet No. 15 provided Shostakovich an external outlet for his internal dialogue on death. Sentiments of meditation, fury, resistance, anguish, and resignation musically intertwine during Shostakovich’s longest and most painful string quartet. This study demonstrates how Shostakovich used the string quartet as a medium for deeper self-expression.

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Walden, Joseph P. "Comparing Formal Analyses of Dmitri Shostakovich’s Symphony No. 5, Op. 47 Through the Theories of James Hepokoski, Warren Darcy, and William Caplin". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408556714.

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40

Green, James Matthew. "The History and Usage of the Tuba in Russia". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.

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41

Thomson, John A. (John Alistair). "The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332656/.

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The lecture recital is an examination of Roma music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kriesler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane.

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Elphick, Daniel. "The string quartets of Mieczysław Weinberg : a critical study". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-string-quartets-of-mieczyslaw-weinberg-a-critical-study(a156efef-b055-4415-8949-87791374c6bc).html.

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As attention on the music of Mieczysław Weinberg (1919-1996) has increased in the years after his death, so has the need for an analytical study of his musical style and language. This thesis surveys Weinberg’s changing style through a genre that spans almost his entire output: the string quartet. His close friendship and artistic affinity with Shostakovich helps make his music accessible to a wider audience, though closer examination reveals Weinberg’s individuality and a quite distinct language from that of his mentor. In support of this contention, a wide range of analytical approaches is deployed in this dissertation, along with a pragmatic methodology for presenting a holistic overview of Weinberg’s quartets. Weinberg’s quartet cycle occupies an important place in twentieth-century music, with parallels to Shostakovich, Bartók, and other Soviet composers, including Myaskovsky, Shebalin, Levitin, and Boris Chaykovsky; correspondences and distinctiveness are explored in the second chapter. The third chapter surveys Weinberg’s musical narratives, with recourse to theories from Kofi Agawu, Boris Asafiev, and Jacques Derrida. Form is the focus of the fourth chapter, where ideas from Mark Aranovsky, and James Hepokoski and Warren Darcy are deployed to highlight Weinberg’s problematising of traditional forms in his music. Chapter five explores Weinberg’s multi-faceted approach to harmony, with concepts expanded from Lev Mazel, Yury Kholopov, and the neo-Riemannian school of analysis. The picture that emerges is of Weinberg’s individuality and distinctive voice, manifested in a controlled experimentalism and a tendency towards extended lyricism. His affinity with better-known composers may prove an approachable entry-point for wider audiences, but many of the most striking elements in his quartet cycle are of his own invention. His quartets stand as an important contextual dimension for understanding Shostakovich’s cycle, and also for appreciating the broader repertoire of Soviet chamber music. As his centenary approaches, engagement with Weinberg’s music continues to increase: this thesis provides contexts and analysis-based conclusions to complement this ongoing revival.

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Luo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.

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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.

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Smith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young". Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.

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Romare, Barth-Croon Michelle. "Hur startar man en stråkkvartett?" Thesis, University of Skövde, School of Humanities and Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-4182.

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Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt. Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt. Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.

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Camargo, Luciano de Freitas. "O discurso sinfônico de Chostakovitch - estudo analítico das sinfonias n. 4 e 5". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-06032013-162237/.

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Este trabalho apresenta um estudo comparativo das Sinfonias n° 4 e 5 de Dmitri Chostakovitch, analisando as características das duas obras à luz dos acontecimentos que separam a composição das duas sinfonias, em especial o banimento da obra do compositor a partir da publicação do artigo Caos em vez de música em caráter oficial no jornal Pravda em 1936, motivado pelo comparecimento de Stálin à uma apresentação da ópera Lady Macbeth do Distrito de Mtsensk. Este trabalho propõe-se a realizar uma análise que possa evidenciar os diferentes aspectos do impacto da perseguição governamental no discurso musical de Chostakovitch e sua significação para a música do século XX.
This work presents a comparative study of the Symphonies No. 4 and 5 of Dmitri Shostakovich, analyzing the characteristics of the two works in connection with the events that separated the composition of the two symphonies, especially the ban of his works after the publication of the article Chaos instead music in the official media Pravda in 1936, motivated by the presence of Stalin to a performance of the opera Lady Macbeth of the Mtsensk District. This work intends to show the various aspects of the impact of government persecution in the musical discourse of Shostakovich and its significance to the music of the twentieth century.

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Rong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.

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In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.

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Dunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet". Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.

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Camargo, Luciano de Freitas. "Chostakóvitch - discurso e ação. Análise e interpretação da sinfonia nº10 Op. 93". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-31052017-105300/.

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Este trabalho apresenta uma reflexão sobre a música do compositor soviético Dmítri Chostakóvitch baseada na análise da Sinfonia nº 10 op. 93. Concluída logo após a morte de Jôsef Stálin, a obra carrega notáveis marcas de seu tempo e sua leitura demanda um cuidadoso estudo das questões relativas à significação musical, em especial uma discussão do conceito de ironia aplicado à música em suas mais diversas manifestações, desde a construção de estruturas musicais expressivas até a disposição de elementos singulares, que requerem uma leitura semiótica. Esta abordagem alinha-se com a perspectiva discursiva que relaciona ironia, intertextualidade e interdiscursividade: o cruzamento de vozes e a confluência de discursos, que constituem elementos fundamentais do conceito de polifonia proposto por Mikhaíl Bakhtín, são identificados aqui como uma chave de leitura capaz de evidenciar, também na música, a ironia como elemento estruturante. A análise da Sinfonia nº 10 a partir dessa perspectiva dá fundamento a novas hipóteses interpretativas e estéticas sobre a obra de Chostakóvitch, evidenciando no texto musical as contradições que surgem no desdobramento analítico do discurso sinfônico e confrontando a crítica histórica da música de Chostakóvitch com uma interpretação semiótica baseada na teoria dos tópicos musicais, desenvolvida a partir das propostas de Leonard Ratner.
The purpose of this work is to present a reflection about the music of the Soviet composer Dmitri Shostakovich based on an analysis of the Symphony no. 10 op. 93. Written immediately after Joseph Stalin\'s death, the symphony carries remarkable traces of its time, and the unfolding of its singularities demands a careful study of musical signification\'s issues, specially a discussion about the concept of irony applied to music in its various manifestations, from the expressive construction of musical structures to the disposition of singular elements. This kind of analysis requires a wide theoretical perspective, which includes a semiotic approach. This analysis is thus aligned with the discursive perspective that relates irony, intertextuality and interdiscursivity: the voice-crossing and discourse confluence, which constitute fundamental elements of Mikhail Bakhtin\'s concept of polyphony, are taken as keys to identify irony as a structural element in music as well. The analysis of the Symphony no. 10 from this perspective grounds new interpretative and aesthetic hypotheses about Shostakovich\'s music, by revealing on the musical text the contradictions which emerge at the level of symphonic discourse, and by confronting the historical criticism of Shostakovich\'s music with a semiotic interpretation based on topic theory proposed after Leonard Ratner.

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Lee, Jung-Hwa. "Dmitri Shostkovich's Piano Concerto Op. 35: A Pianist's Guide For Performance". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1227641553.

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