Gotowe bibliografie tematyczne / Prokofiev

Gotowa bibliografia na temat „Prokofiev”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lutego 2023

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Artykuły w czasopismach na temat "Prokofiev"

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Dixon, Gavin. "St Petersburg, Shostakovich Hall: Gabriel Prokofiev's Cello Concerto". Tempo 67, nr 266 (październik 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000922.

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When Gabriel Prokofiev first came to prominence in the UK, comparisons were inevitably made with his famous grandfather. Gabriel has since forged a distinctive musical identity for himself, making the shared name all but irrelevant. But in Russia that name carries even greater significance, so it was little surprise that the world première of Gabriel's Cello Concerto in Saint Petersburg, on 18 May, was in a concert that included at least two Prokofievs. In fact, a third Prokofiev was also featured, as the event began with poetry by Oleg: Gabriel's father and Sergei's son.
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Kondakov, Igor V. "SERGEI PROKOFIEV OPERA HOUSE: A CYCLE OF BINARY MACROSTRUCTURES". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, nr 7 (2022): 138–52. http://dx.doi.org/10.28995/2686-7249-2022-7-138-152.

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The S. Prokofiev Theater is today considered one of the pinnacles of the world musical theater of the 20th century. This article is devoted to the opera theater of S. Prokofiev and its philosophical overtones. It is important to understand the features of the formation and development of such a theater as a whole, to comprehend the design of the Prokofiev theater as a system of separate theatrical works in the creative mind of the author. The logic of the composer’s theatrical creativity, which in a peculiar way refracted the philosophy of Kant and Schopenhauer, required that each new work of this genre be created in contrast with the previous one. As a result, the entire array of Prokofiev’s operas appears in the form of a system of philosophical antinomies embodied in the form of a cycle of opera dyads. Thus, Prokofiev managed to present in the form of binary macrostructures of his musical theater the inconsistency of the surrounding reality and the insolubility of ideological disputes about it, which are formed as a set of “theses” and “antitheses” that are not subject to synthesis. Considering the cycle of Prokofiev’s operas as a system of semantic antinomies makes it possible to present the corpus of his musical and theatrical works as a single text (hypertext) - in all the variety of intertextual connections and philosophical overtones.
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Barker, Michael K., Nancy L. Chabot, Erwan Mazarico, Matthew A. Siegler, Jose M. Martinez-Camacho, Colin D. Hamill i Stefano Bertone. "New Constraints on the Volatile Deposit in Mercury’s North Polar Crater, Prokofiev". Planetary Science Journal 3, nr 8 (1.08.2022): 188. http://dx.doi.org/10.3847/psj/ac7d5a.

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Abstract We present new high-resolution topographic, illumination, and thermal models of Mercury’s 112 km diameter north polar crater, Prokofiev. The new models confirm previous results that water ice is stable at the surface within the permanently shadowed regions (PSRs) of Prokofiev for geologic timescales. The largest radar-bright region in Prokofiev is confirmed to extend up to several kilometers past the boundary of its PSR, making it unique on Mercury for hosting a significant radar-bright area outside a PSR. The near-infrared normal albedo distribution of Prokofiev’s PSR suggests the presence of a darkening agent rather than pure surface ice. Linear mixture models predict at least roughly half of the surface area to be covered with this dark material. Using improved altimetry in this crater, we place an upper limit of 26 m on its ice deposit thickness. The 1 km baseline topographic slope and roughness of the radar-bright deposit are lower than the non-radar-bright floor, although the difference is not statistically significant when compared to the non-radar-bright floor’s natural topographic variations. These results place new constraints on the nature of Prokofiev’s volatile deposit that will inform future missions, such as BepiColombo.
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Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage". Cambridge Opera Journal 26, nr 3 (13.10.2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.

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AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Moving away from Tolstoy’s family ideal inPeace, with its basis on intimate sibling bonds, Prokofiev shifted the family toWar, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. The opera uses choral glorification of these heroic parents to foster on a national scale the type of intimacy Tolstoy had advocated in the home.
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Ляхович, Артём Владимирович. "Prokofiev and Fairy Tale". Музыкальная академия, nr 1(777) (31.03.2022): 96–105. http://dx.doi.org/10.34690/221.

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Статья посвящена образной сфере сказки в творчестве Прокофьева, которая трактуется как ключевой локус его поэтики. Эта сфера рассмотрена в двух планах: сказочность как нарратив (в аспекте музыкально-инструментальной литературности, уподобления инструментального произведения литературной притче) и сказочность как творческий метод (в аспекте музыкального языка Прокофьева, его принципиальной установки на оригинальность и, соответственно, на необычность, остранение, чудо). Со вторым планом связана и сфера детства в музыке Прокофьева, тождественная миру, увиденному «как впервые». Нарратив трактуется двояко: в широком смысле - как комплекс взаимосвязанных музыкально-структурных и ассоциативных систем, восходящих к моделированию литературных форм и смыслов; и в узком - как звукоизображение рассказа, где Прокофьев по-новому продолжает «балладную» традицию романтиков. С литературностью прокофьевского нарратива резонирует роль театра в его творчестве и эстетике. The article is devoted to the figurative sphere of fairy tales in the work of Prokofiev, which is interpreted as the key locus of his poetics. This sphere is considered in two modes: a fairy tale as a narrative (in the aspect of musical-instrumental literary, assimilating an instrumental work to a literary parable) and a fairy tale as a method of creation (in the aspect of Prokofiev's musical language, his fundamental attitude to originality and, accordingly, to uniqueness, defamiliarization, miracle). The second mode is also associated with the sphere of childhood in Prokofiev's music. It is identical to the world seen “as for the first time.” Narrative is interpreted in two ways: in a broad sense-as a complex of interrelated musical-structural and associative systems, ascending to the modeling of literary forms and meanings; and in the narrower sense, as a sound representation of the story, where Prokofiev continues the “ballad” tradition of composers of Romantism. The role of the theater in his work and aesthetics resonates with the literary nature of Prokofiev's narrative.
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Prokofiev, Artem M., i Carsten Zorn. "Review of the Mimela species of the Dalat Plateau in southern Vietnam (Coleoptera, Scarabaeidae, Rutelinae)." Beiträge zur Entomologie = Contributions to Entomology 66, nr 2 (20.12.2016): 329–46. http://dx.doi.org/10.21248/contrib.entomol.66.2.329-346.

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Zwölf Arten der Gattung Mimela wurden im Gebiet des Dalat-Plateaus in Südvietnam gefunden. Zehn von ihnen werden als neu für die Wissenschaft beschrieben. Die Mehrzahl der Arten scheint endemisch zu sein und hat Verwandte in der Sino-Himalaya-Region.StichwörterColeoptera, Scarabaeoidea, Scarabaeidae, Rutelinae, Anomalini, Mimela, Vietnam, Dalat, new species, taxonomy, Oriental region.Nomenklatorische Handlungenamphichroma Zorn & Prokofiev, 2016 (Mimela), spec. nov.campyloclados Zorn & Prokofiev, 2016 (Mimela), spec. nov.dalatocoerulea Zorn & Prokofiev, 2016 (Mimela), spec. nov.galbinata Zorn & Prokofiev, 2016 (Mimela), spec. nov.germana Zorn & Prokofiev, 2016 (Mimela), spec. nov.indosinica Zorn & Prokofiev, 2016 (Mimela), spec. nov.krasava Zorn & Prokofiev, 2016 (Mimela), spec. nov.langbianica Zorn & Prokofiev, 2016 (Mimela), spec. nov.pacholatkoi Zorn & Prokofiev, 2016 (Mimela), spec. nov.vietnamensis Zorn & Prokofiev, 2016 (Mimela), spec. nov.
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MURDY, EDWARD O. "Corrections and clarifications to the descriptions of Biendongella and Sovvityazius (Perciformes: Gobiidae)". Zootaxa 4276, nr 1 (9.06.2017): 127. http://dx.doi.org/10.11646/zootaxa.4276.1.7.

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Prokofiev (2015a) described two new genera and species of Amblyopinae and reported new amblyopine records from waters off Indonesia, the Philippines, and Vietnam. In reviewing Prokofiev’s figures and reading the descriptions of his new genera, Biendongella Prokofiev, 2015 and Sovvityazius Prokofiev, 2015, it appeared likely that these new taxa were based on species also under examination by Koichi Shibukawa and me. However, some differences existed between our specimens and those described by Prokofiev in the pterygiophore formula (DF), the presence/absence of hypural 5, and the number of epurals. The data and information on these characters were not abundantly clear from the text and clarification was needed. For example, on page 786 of Prokofiev (2015a) the following diagnostic feature of Biendongella was provided, “DF 3 1221, vacant interneural gap between spined and soft parts of D present; two first pterygiophores of soft part of D each located in its interneural gap…”. Similar wording exists for Sovvityazius on page 789, “DF 3 1221, vacant gap between spined and soft parts of D present; two first pterygiophores of soft part of D each in its interneural space…”. As for hypural 5 and the number of epurals, the same statement is given for both Biendongella and Sovvityazius on pages 786 and 789, respectively, “Hypural 5 and epural 2 absent.” These character states struck me as remarkable as they are atypical for amblyopines. With respect to the DF character above, amblyopine gobies with a pterygiophore formula of 3-1221 have no interneural gap and the interneural space immediately posterior to the pterygiophore of the ultimate spinous ray contains two pterygiophores (Murdy 2011). As for the latter characters, hypural 5 and two epurals are present in amblyopine gobies (Shibukawa and Murdy 2012). In a detailed email to Prokofiev, I asked for clarification of these discrepancies and whether Biendongella and Sovvityazius have the amblyopine synapomorphy of the ultimate pterygiophore supporting a single ray (Murdy & Shibukawa 2001), which was not mentioned in the description of either genus.
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PROKOFIEV, ARTEM M. "New species and records of Maechidius Macleay, 1819 from New Guinea (Coleoptera: Scarabaeidae: Melolonthinae)". Zootaxa 5205, nr 5 (10.11.2022): 445–62. http://dx.doi.org/10.11646/zootaxa.5205.5.3.

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Seven species of Maechidius Macleay, 1819 from New Guinea are described, namely M. addarcis Prokofiev, new species, M. astrolabius Prokofiev, new species, M. bombycinus Prokofiev, new species, M. echinoides Prokofiev, new species, M. macrosoma Prokofiev, new species, M. penicilliger Prokofiev, new species, and M. telnovi Prokofiev, new species. Males of M. interruptocarinulatus Heller, 1914 and aedeagus of M. seriepunctatus Moser, 1920 are described for the first time. Key to the Indonesian and New Guinean species is amended for inclusion of the newly described species.
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RIFKIN, DEBORAH. "The Quiet Revolution of a B Natural: Prokofiev's ‘New Simplicity’ in the Second Violin Concerto". Twentieth-Century Music 6, nr 2 (wrzesień 2009): 183–208. http://dx.doi.org/10.1017/s1478572210000162.

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AbstractThis essay explores changes in Prokofiev's compositional style that occurred in the mid-1930s, around the time that he was making his decision to return to his homeland. In his diary Prokofiev wrote about a desire for a ‘new simplicity’, a style that featured simple melodies and comprehensible form. Compared to the avant-garde aspirations of his earlier works, his ‘new simplicity’ features a self-conscious return to Classical precedents. Prokofiev believed his new lyricism would be a uniquely modern yet accessible music for the Soviet people. Many of his most popular works, including Lieutenant Kijé (1933), Romeo and Juliet (1935–6), and Peter and the Wolf (1936), are written in the style associated with this ‘new simplicity’. The style is distinctive because of its sudden and markedly trangressive chromatic swerves to distant harmonic areas. By invoking and then thwarting tonal conventions, Prokofiev creates a compelling tension between Classicism and modernism. This essay presents the first movement of his Violin Concerto no. 2 (1935) as an exemplar of his ‘new simplicity’. The fractured musical surface is interpreted as a musical narrative, as an ironic satire of sonata form.
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Савкина, Н. П. "More About Gorchakov, Prokofiev’s Secretary". OPERA MUSICOLOGICA, nr 2 (1.05.2021): 70–89. http://dx.doi.org/10.26156/om.2021.13.2.004.

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Цель статьи — представить новые сведения о секретаре Сергея Прокофьева Георгии Николаевиче Горчакове (1902–1995), сосредоточенные в неизвестных документальных материалах. Это был музыкант, который расшифровывал музыкальные и литературные рукописи Прокофьева, писал под его диктовку, в течение нескольких лет был проводником литературной и музыкальной мысли композитора, довел до стадии завершения несколько крупных прокофьевских партитур. Их связывало и общее вероучение, которому оба были привержены: Христианская наука. Письма Горчакова — его рассказы Прокофьеву о себе — обновляют знание о повседневном существовании обычных людей русской эмиграции. Они затрагивают не только мир музыкальный, но и непарадную сторону жизни Лазурного берега, «мореходную» тему, неизвестный прежде мотив скаутского движения: оно, оказывается, интересовало Прокофьева, у которого подрастали сыновья. Конечно, картинки общения Прокофьева и Горчакова не могли обойтись без зарисовок каждодневной прозаической жизни музыкального издательства, волнений по поводу грядущего концерта, для которого прислали не все оркестровые партии, других колоритных подробностей. Событием в прокофьевской историографии можно считать уточнение сроков выхода в свет «Вещей в себе». The aim of the article is to present a new information about Prokofiev’s secretary — Georgiy Nikolaevich Gorchakov in the analysis of previously unknown documentary materials. He was the musician, who deciphered Prokofiev’s sheet music and literary manuscripts, and who took his dictation. For years he was an agent of the composer’s musical and literary ideas and he brought to completion some large-scale Prokofiev’s scores. Besides, they were bound by the same belief — Christian Science. Gorchakov’s letters — his narrations to Prokofiev about himself — update the knowl edge about ordinary Russian people’s immigration experience. They tackle not only the world of music, but also Côte d’Azur’s everyday life: navigation and scouting, in which Prokofiev — a father of growing boys — appeared to be interested. Certainly the descrip tion of Prokofiev and Gorchakov’s communication wouldn’t be complete without outlining the mundane everyday life of the music publishing house and nerve-wracking preparations for the coming concert which was missing some orchestral parts, and other colorful details. A more accurate date for the publication of Things in Themselves could be considered a significant discovery in Prokofiev’s historiography.
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Rozprawy doktorskie na temat "Prokofiev"

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Howell, Chelsea Gayle. "Multidisciplinary performance issues in Sergei Prokofiev's Trapèze". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459902831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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ZHU, DI. "PROKOFIEV'S PIANO TRANSCRIPTIONS: A COMPARATIVE STUDY OF HIS TRANSCRIBING TECHNIQUES". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318.

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Nataša, Crnjanski. "Prokofjev i muzički gest – klavirske sonate". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=84602&source=NDLTD&language=en.

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Cilj disertacije je da se korišćenjem teorije o
muzičkom gestu - na sonatama kao
reprezentativnom uzorku u kome je gest osnova
izgradnje muzičkog značenja, generator
kompozicione forme i strukture, ali i determinišući
faktor analize koji obezbeđuje razumevanje stila i
stilskih promena - potvrdi upotreba muzičkog gesta
kao elementa naratologije muzičkog toka u muzici
Prokofjeva. Šire gledano, primena teorije o
muzičkom gestu na istraživanje klavirskih sonata
Sergeja Prokofjeva potvrdiće njenu univerzalnu
profilisanost i primenjivost u analitičkim tumačenjima
muzike 20. veka, te proširiti dosadašnju praksu da se
ova teorija isključivo vezuje za muziku 18. i 19. veka.
Svojevrsni analitički izazov predstavljaće primena
ove teorije na muzički tok koji povremeno izlazi iz
okvira tonalnog jezika (u kom je muzički gest
originalno utemeljen) čime se proširuje polje njene
primene, ali i ukazuje na najproduktivniji aspekt
današnje muzičke semiotike - istraživanje relacije
muzika-telo.

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Bogart, Steven. "Rhapsody". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/td/3.

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Orlov, Vladimir Sergeevich. "Soviet cantatas and oratorios by Sergei Prokofiev in their social and cultural context". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609314.

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Jones, Kathryn E. "Prokofiev Beckons the Double Bass Into the Modern Age: a Pedagogical Study of the Op 39 Quintet". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699907/.

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Until Serge Prokofiev’s 1924 ballet score Trapèze, the double bass occupied a background or at best a doubling role in almost all composers’ use of the instrument. Technical challenge was limited in these pieces, because composers did not see the instrument’s potential in a chamber music environment. As luthiers developed the instrument, the technical ability of players grew, and composers began writing more challenging music for the instrument. As one of the first major composers to see the double bass in a new light, Prokofiev wrote challenging music for the instrument. This paper illuminates the alluring pedagogical aspects of Prokofiev's Quintet in G Minor, Op. 39 and provides recommendations for accomplishing some difficult passages with ease.
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Wilson, Deborah Annette. "Prokofiev’s Romeo and Juliet: history of a compromise". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061231843.

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Kim, Sooyoung. "Perspectives on the Symbiosis of Traditional and Modernist Techniques in Four Violin Compositions by Sergei Prokofiev". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918892.

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Sologub, Olga. "Sergei Prokofiev's Piano Sonata No. 8, Op. 84 and Symphony No. 5, Op. 100 : Neo-Riemannian and Kholopovian perspectives". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/sergei-prokofievs-piano-sonata-no-8-op-84-and-symphony-no-5-op-100-neoriemannian-and-kholopovian-perspectives(1e3b29e4-2086-4f12-bd5b-ea02635bbccd).html.

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Sergei Prokofiev is among the ranks of early-twentieth century composers whose music endures in the concert hall and whose life has attracted much musicological research. Fewer studies, however, have undertaken an analytical investigation into his music, and the body of scholarly work on the musical theoretical issues raised by his compositions does not rival that exploring the music of such major contemporaries as Igor Stravinsky and Béla Bartók. Existing Anglo-American contributions to the field of Prokofiev theory have mostly employed the tools of common-practice musical analysis, many of them using Schenkerian methods, with the more recent accounts of Richard Bass and Deborah Rifkin expanding these to incorporate the chromatic features of Prokofiev’s music in more sophisticated ways. A notable exception is Neil Minturn, who proposes an analytical approach informed by pitch-class set theory; his methodology, however, has not been developed in any further research. This thesis aims to make a contribution to Prokofiev analysis by applying recent developments in neo-Riemannian theories and the work of the noted Russian musicologist, Yuri Kholopov, whose early monograph on Prokofiev’s harmony has not been engaged with in English language accounts to date. Neo-Riemannian theories are well suited to this task due to the correspondence between their remit and the diatonic chromatic aspect of Prokofiev’s music. This thesis also introduces and explores the potential of Kholopov’s theoretical concepts regarding the nature of twentieth-century music, and in particular processes such as polyharmony, in original analytical applications. Prokofiev’s Symphony No. 5 and Piano Sonata No. 8 have been selected as focal works as they are acknowledged masterworks on an ambitious scale and arguably represent a shift in Prokofiev’s compositional thinking towards more abstract music in his later period. Existing analyses of extracts from these two works also offer the opportunity of making comparative observations. By focusing on harmony and large scale tonal design in these two works, this thesis hopes to demonstrate that a dialogue between the theoretical perspectives of Kholopov and those of neo-Riemannian theories may contribute valuable insights into Prokofiev’s music, at both surface and deep structural levels.
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Moron, Nicolas. "Une incantation mise en musique : édition critique de "Sept, ils sont sept" de Serge Prokofiev". Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2003.

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La partition de "Sept, ils sont sept" pour ténor solo, chœur et orchestre ayant été imprimée en Russie en 1922 sans l'accord du compositeur, la question de l'authenticité du texte musical de cette œuvre, méconnue et néanmoins l'une les plus chères à Prokofiev, est fondamentale. L'origine de l'incantation mésopotamienne transcrite par le poète Constantin Balmont, à partir de laquelle Prokofiev rédigea le texte mis en musique, a pu être retracée en confrontant les ouvrages du poète aux écrits du compositeur. Des liens ignorés jusqu'à présent ont ainsi pu être tissés, et les rôles successifs joués par chacun dans la constitution du texte final clairement établis. Les recherches menées à la lumière documents inédits ont permis d'établir l'histoire de la genèse de cette œuvre et de comprendre dans quelles conditions la 1ère édition fut réalisée, à partir d'un manuscrit autographe récemment découvert. Ce sont également quatre traductions françaises réalisées en vue de la création qui ont été retrouvées, et dont l'étude comparée a permis d'établir le rôle primordial joué par Prokofiev dans ce processus. Lors de la réalisation de l'édition critique de cette partition, nous avons systématiquement confronté cinq manuscrits inédits, aux trois versions imprimées en 1922 et 1933, en tenant compte de leur histoire, de leur spécificité, et de leur mode de rédaction.En même temps qu'elle représente le premier travail d'édition critique mené sur une œuvre de Prokofiev, cette recherche s'inscrit dans la continuité des publications les plus récentes, afin d'offrir aux interprètes autant qu'aux musicologues une partition claire qui corresponde au mieux à la pensée musicale de Serge Prokofiev
As the score of "Seven, They Are Seven" for tenor solo, choir and orchestra has been printed in Russia in 1922 without the composer's consent, a basic question is to know whether the musical text of this work, neglected and yet one of Prokofiev's dearest, is authentic.The origin of the Mesopotamian incantation transcribed by the poet Constantin Balmont, from which Prokofiev drafted the text finally put in music, was recalled by comparing at once the works of Balmont to the composer's writings.Previously unknown connections could thus be weaved, and the successive roles played by each in the constitution of the final text were clearly established. Research conducted in light of unpublished documents made possible to trace the origins of this work and to understand the conditions in which the 1st edition had been made, from a recently discovered autograph manuscript.Also, four rediscovered French translations made for this work's creation confirmed in a comparative study the key role played by the composer in this process. By taking into account their history, their specificity, and how they were drawn up, we systematically compared, for the realization of the critical edition of this score, three complete manuscripts as well as a vocal score and an annotated edition completed by a manuscript, all unpublished, to the three versions printed in 1922 and 1933. Representing the first critical edition of a work by Prokofiev, this research fits in line with the most recent publications, in order to provide interpreters as well as musicologists a clear score which agrees, at best, to the musical thought of Sergey Prokofiev
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Książki na temat "Prokofiev"

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David, Gutman. Prokofiev. London: Alderman Press, 1988.

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Prokofiev. London: Omnibus Press, 1990.

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Schipperges, Thomas. Prokofiev. London: Haus, 2003.

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Samuel, Claude. Prokofiev. New York: Marion Boyars Publishers, 1998.

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Samuel, Claude. Prokofiev. Paris: Seuil, 1995.

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Serge Prokofiev. Arles: Actes sud, 2012.

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Robinson, Harlow. Sergei Prokofiev: A biography. New York, N.Y., U.S.A: Viking, 1987.

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Sergei Prokofiev: A biography. New York, NY: Viking, 1987.

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Sergei Prokofiev: A biography. London: Hale, 1987.

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Robinson, Harlow. Sergei Prokofiev: A biography. New York: Paragon House, 1988.

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Części książek na temat "Prokofiev"

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Redepenning, Dorothea. "Prokof’ev, Sergej Sergeevič". W Komponisten Lexikon, 470–73. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_236.

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Redepenning, Dorothea. "Prokof’ev, Sergej Sergeevič". W Komponisten, 191–94. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_35.

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Uehling, Peter. "Sergej Sergejewitsch Prokofjew". W Kammermusikführer, 479–83. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_96.

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Frolova-Walker, Marina. "“Monsieur Prokofieff”". W Rethinking Prokofiev, 61–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0006.

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Composers’ national identities, as we perceive them, tend to act as a constraint on the type of questions we ask about them. Prokofiev research is a clear example of this, since it has been focused either on his early years or on his return to Soviet Russia. His two decades abroad have usually been treated as transitional, unsettled, and of limited significance. This chapter reimagines Prokofiev in Paris, not as a fleeting Russian émigré but as a fixture in Parisian musical life. It assesses both how important Prokofiev was for Paris and how important Paris was for Prokofiev. The materials for this task are now abundant: Prokofiev’s own diaries and much of his personal and professional correspondence have been published; and a multitude of French press reviews are available online. The impact of the Paris years well into Prokofiev’s Soviet period is also examined—an influence not generally recognized by either Soviet or Western commentators.
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Kupfer, Peter. "Prokofiev in the Popular Consciousness". W Rethinking Prokofiev, 423–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0023.

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Prokofiev’s legacy in the concert hall is well established, but there has been little study of his legacy in the popular consciousness. If we examine the multitude of uses of his music in popular contexts (television programs, television advertisements, film, in the works of other musicians, etc.), what patterns emerge? Which Prokofiev pieces appear most often and to what associative ends? Can viewers even recognize the music as Prokofiev? If not, are there particular stylistic features of Prokofiev’s music that lend themselves to certain kinds of uses? What, in short, is (and has been) the use and meaning of Prokofiev’s music in the popular consciousness? This chapter sketches out answers to these questions using analytical methods from musicology, music and multimedia studies, music psychology, music sociology, and the analysis of viewer responses to the range of uses of Prokofiev’s music in everyday media.
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"PROKOFIEV". W Orchestral Masterpieces under the Microscope, 339–51. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.49.

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"PROKOFIEV". W Orchestral Masterpieces under the Microscope, 352–54. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.50.

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Pritchard, Jane. "Staging Prokofiev’s Early Ballets". W Rethinking Prokofiev, 215–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0013.

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As a composer for dance, Prokofiev has an international standing in the twentieth century that was second only to Stravinsky. Both composed specific scores for ballet and both have had other works mined by choreographers for new productions. Yet even now Prokofiev’s reputation as a composer for dance rests largely upon just two scores, both for full-program ballets: Romeo and Juliet and Cinderella. In this, Prokofiev differs from Stravinsky. However, it was as a composer of shorter, more experimental pieces—mostly written for Diaghilev’s Ballets Russes—that Prokofiev not only learned his craft as a ballet composer but also refined his theatrical and musical idioms. His music for Chout, Trapèze, Le Pas d’Acier, and L’Enfant Prodigue were formative in his stylistic evolution. This chapter traces the development, design, production, and early reception of these relatively unfamiliar works and their later revivals.
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Ermolaeva, Katya. "Audiovisual Montage in Ivan the Terrible". W Rethinking Prokofiev, 253–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0015.

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While new scholarship on Prokofiev and Eisenstein continues to emerge, there has been surprisingly little written about Prokofiev’s film scores as they relate to Eisenstein’s theories on music and sound. Eisenstein considered “sound imagery” to be as important as visual imagery in film, and with the advent of sound film in the late 1920s, he began writing essays on the subject. Many musicologists have expertly discussed Prokofiev’s music in Eisenstein’s films, and film historians have long considered Eisenstein’s theories on sound and how they function generally in his films. Until recently, however, very few scholars have attempted to merge a close reading of Eisenstein’s theories with an analysis of Prokofiev’s music. This chapter helps to bridge this gap in scholarship by examining Eisenstein’s late theories on music and sound from his essay “The Music of Landscape” in relation to Prokofiev’s score for Ivan the Terrible.
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Kravetz, Nelly, Rita McAllister i Laura Brown. "Sergei Prokofiev and Levon Atovmian". W Rethinking Prokofiev, 107–25. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0008.

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The name of Levon Atovmian is largely unknown. Yet he was a most important and influential figure in the development of Soviet culture: a musical impresario, company director, bureaucrat, publisher, editor, and arranger, as well as close friend and confidant of many distinguished Soviet composers. His role in Prokofiev’s later life cannot be overestimated. He played a leading, practical part in the composer’s return home in 1936. He promoted the commissioning of some of the most significant of Prokofiev’s later works, and arranged for piano all of his Soviet-period operas, oratorios, and ballets. He and Prokofiev exchanged an extensive professional and increasingly personal correspondence for over twenty years. The chapter is based on unique materials, including his memoirs, given to the author by Atovmian’s daughter. It explores their correspondence, and reveals the circumstances surrounding the discovery of Atovmian’s arrangement of an oratorio based on Prokofiev’s music for Ivan the Terrible.
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Streszczenia konferencji na temat "Prokofiev"

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Wang, Siwen. "A Brief Analysis of Prokofiev's Three Later Piano Sonatas". W Proceedings of the 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ecss-19.2019.70.

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