Rozprawy doktorskie: „Russian music”

1

Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.

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Luo, Hung. "Selected late-Romantic Russian piano music". College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/9737.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;

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3

Zikanov, Kirill. "Listening to Russian Orchestral Music, 1850-1870". Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957348.

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The following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.

Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire,

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4

Petersen, Katherine. "Russian Repertoire: Developmental Perspectives". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439481939.

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Ealy, Gregory. "Medieval Russian chant and the contemporary church". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.

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Kaminski, Jason. "Kolokol : spectres of the Russian bell". University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2006. http://hdl.handle.net/2100/421.

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Kolokol: Spectres of the Russian Bell, submitted by Jason Kaminski in fulfilment of the requirements of PhD (Humanities and Social Sciences) candidature at the University of Technology, Sydney, is an interpretative history of Russian bells (kolokola) and bell music (zvon). As a cultural object and sign, the Russian bell is associated with ideas of transcendence, and ideological and creative ‘vision.’ This interpretation of the signification of the kolokol as a sign arises directly from the perception that the bell is essentially a physical (anthropomorphic) body that is capable of ‘projecting’ or ‘transcending’ itself in the form of a spectrum. This essential ‘spectrality’ defines a history of the Russian bell as an instrument of magical, spiritual and religious ritual, as a cultural artefact associated with changing ideological movements (paganism, Christianity and communism) and as a sign represented synaesthetically in image, sound and text. Ethnographic and campanological studies observe that the kolokol ‘reflects Russian social history like a mirror’, representing the ‘voice of God’ or Logos as an aural or ‘singing’ icon, pointing to the primordial origins of language. This dissertation further investigates the idea that the kolokol acts as an ‘acoustical mirror’ and ‘ideological apparatus’: a medium or spectre through which Russian history and culture is interpellated and reflected. The various logical streams (storytelling, legend, script, text, song, cultural theory, philosophy and ethnography) that contribute to this dissertation form a textual ‘polyphony’ through which the essential meanings and ‘personae’ of the kolokol as a cultural object are interpreted. The bell is regarded as presenting an enigma of signification that must be resolved through investigation and definition. The thesis concludes that the kolokol acts as an iconic sign of the creative ‘Word’ (Logos) and as a symbolic sign that implies a ‘bridge’, copula or psychic ‘hook’, articulating the relationship between the cosmos and consciousness, the material and spiritual, the real and imaginary. Keywords: Russia, Russian History, Russian Arts, Russian Music, Russian Poetry, Russian Political History, Russian Orthodoxy, Russian Revolution, Bell-founding, Bell Music, Bell-ringing, Campanology, Iconology, Kolokol, Zvon. Word-count: 82,250 (excluding endnotes) 98,300 (including endnotes).

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7

Ritchie, Carolyn Cairns. "The Russian Court Chapel Choir : 1796-1917". Thesis, University of Glasgow, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263564.

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Thomas, Gareth James. "The impact of Russian music in England 1893-1929". Thesis, University of Birmingham, 2005. http://etheses.bham.ac.uk//id/eprint/260/.

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This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton. A combination of comparative examples and critical discussion of the music is used to illustrates how Russian music influenced these composers and, as a result, demonstrate the key role Russian music played in helping them to find their compositional voice.

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Roberts, Peter Deane. "Aspects of modernism in Russian piano music, 1910-1929". Thesis, Kingston University, 1988. http://eprints.kingston.ac.uk/20519/.

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The purpose of this thesis is to examine some of the techniques employed by Russian composers during the Modernist period from around 1910 to the imposition of State control of the Arts which began in 1929. Because many important musicians left Russia it has been necessary to include the works of some of those who lived abroad. It was decided to approach the subject of Modernism through the medium of piano music, partly to keep the project within manageable bounds and also because composers tended to use the piano for their more experimental works. The thesis offers a more detailed analytical approach to the music than is found in Leonid Sabaneyev's Modern Russian Composers published in 1927, which is the only major work on the period so far to have appeared in the English language. The study has not been restricted to the comparatively narrow limits of set-theory analysis, as has tended to be the case in recent years with articles on Russian music of this period written in the U.S.A. A variety of techniques have been employed with a view to placing this music in its Russian context as well as examining its relationship to developments in the West. The study progresses from detailed aspects of technique towards the consideration of large-scale structures and, so far as possible, from familiar points of style towards the more unfamiliar. It falls broadly into three sections. The first begins with two major figures - Scriabin and Prokofiev - and continues with other lesser-known Russian composers of the period. The second, Chapters 7-10, deals with tonality and the attempts made to find alternatives to tonality as a basis of structure. The third is concerned with constructional methods, both tonal and non-tonal, and concludes with a summing-up and general assessment.

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MILLER, KATHLEEN A. "Valery Gavrilin: A Theoretical and Historical Analysis of Select Works for Voice and Piano". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1201116646.

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11

Powell, Jonathan Anthony. "After Scriabin : six composers and the development of Russian music". Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.

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Maximova, Galina, i res cand@acu edu au. "Russian Orthodox Music in Australia: The translation of a tradition". Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.

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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.

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13

Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /". Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Maximova, Galina. "Russian orthodox music in Australia: The translation of a tradition". Thesis, Australian Catholic University, 1999. https://acuresearchbank.acu.edu.au/download/d03b7aa994da89bc99a880e5e5e2cfe280a8fd6553aa1220f001ed26ba004b8d/3858245/64980_downloaded_stream_205.pdf.

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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999.;The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors.;Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.

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15

Ryder, Raymond Teele. "Russian elements in selected piano compositions of Cesar Cui (1835-1918)". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280753.

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Cesar Cui [Tsezar Kjui] (1835-1918) was a military officer, composer and critic whose activities as a music critic helped promote nationalism in Russian music and bring the "Russian Five" to the attention of Western Europe. In his book La Musique en Russie (1880) Cui identifies several characteristics of Russian music. The current document examines several of Cui's piano works in the context of Russian musical elements such as rhythmic freedom, modal melodies and plagal cadences, shifts between major and relative minor, static harmony and short themes. Cui's use of these elements in his piano writing produces a personal style with identifiably Russian characteristics even though Cui himself, as well as some of his contemporaries, claimed that he did not write in a nationalistic vein. The compositions selected for this study are Quasi Scherzo, Op. 22, No. 4, Waltz in a minor, Op. 31, No. 2, "Serenade," Op. 40, No. 5 (from the suite A Argenteau) and three of the 25 Preludes, Op. 64: No. 4, in b minor, No. 8, in c# minor, and No. 15, in D-flat major.

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Sundkvist, Luis. "Turgenev and the question of the Russian artist". Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/228706.

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This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.

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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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Issiyeva, Adalyat. "Russian orientalism: from ethnography to art song in nineteenth-century music". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121101.

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Russia's ambivalent geo-political and socio-cultural position, as a self-avowed intermediary between the East and the West, shaped its double identity and played an important role in the creation of Russia's own Oriental Other. This dissertation examines the political and cultural resonance of nineteenth-century Russian art songs with oriental or Asian subjects, both within and outside of Edward Said's theoretical construct of "Orientalism." It also addresses how Russian art song composers adapted, transformed and assimilated music drawn from ethnographic sources published during the century. By contextualizing nineteenth-century Russian Orientalism through an analysis of folksong collections, ethnographies, and art songs this study addresses the very formation of the Russian image of Otherness in conjunction with the construction of a specifically Russian national and musical identity. Drawing on an extensive yet under-analyzed and under-theorized repertoire of Russian folk and art songs with oriental subjects, as well as a host of writings by Russian literati, travelers, ethnographers, and ordinary individuals about the music and culture of Russian oriental minorities, this dissertation reveals the changing nature of the theory, practice, and creation of nineteenth-century Russian music with oriental subjects, as well as the diverse and often contradictory representations of oriental Others and the extraordinary complexity of the colonizer-colonized relationship in Russia.
La position géopolitique et socioculturelle ambivalente de la Russie, en tant qu'intermédiaire autoproclamé entre l'orient et l'occident, a formé sa double identité et cela a joué un rôle important dans la création de son propre Autre Oriental. Cette thèse examine l'influence politique et culturelle de plusieurs mélodies russes du dix-neuvième siècle ayant des sujets orientaux ou asiatiques, à la fois à l'intérieur comme à l'extérieur du contexte « d'orientalisme » d'Edward Said. Elle analyse également la manière dont les compositeurs de mélodies russes ont adapté, transformé et assimilé la musique provenant de sources infographiques publiées tout au long du siècle. En contextualisant l'Orientalisme du dix-neuvième siècle à l'aide d'analyses de collections de chansons folkloriques, d'ethnographies, et mélodies russes, cette étude s'intéresse à la formation même de l'image russe de l'Autre conjointement à l'édification d'une identité nationale et musicale spécifiquement russe. Basée sur un répertoire abondant – bien que peu analysé et théorisé – de mélodies russes ayant des sujets orientaux, de même que plusieurs écrits d'érudits, de voyageurs, d'individus ordinaires et d'ethnographes russes à propos de la musique et de la culture des minorités orientales russes, cette thèse met en lumière la nature changeante de la théorie, la pratique et la création de la musique russe du dix-neuvième siècle ayant des sujets orientaux, de même que les représentations variées et souvent contradictoires de l'Autre oriental et l'extraordinaire complexité de la relation colonisateur-colonisé en Russie.

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Fralick, Larry Wayne. "An anthology of nineteenth-century Russian arias for tenor : A guide to performance /". The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972135265.

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Lohmann, Erica Meixsell. "Love for Three Oranges: Prokofiev's first comic opera in the context of Russian traditions". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399898752.

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Kiszko, Martin Edmund. "The origins and place of the balalaika in Russian culture : its migration to the USA, and the dissemination of balalaika orchestras in America, with particular reference to the Kasura and Kutin collections at the University of Illinois". Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/63aa1b7e-5ac5-4e6e-ab2f-11d611e694be.

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Haldey, Olga. "Savva mamontov and the Moscow private opera : from realism to modernism on the Russian operatic stage /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871783319.

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Galentine, Shane Nelson. "The life and piano works of Alexander Tikhonovich Gretchaninoff (1864-1956)". Kansas State University, 2013. http://hdl.handle.net/2097/15769.

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

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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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Gravelle, Shannon Marie. "A preliminary study of the choral works and style of Sergei Taneyev". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5484.

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Krafcik, Annika K. "Teaching the Narod to Listen: Nadezhda Briusova and Mass Music Education in Revolutionary Russia". Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1591367779053198.

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Dyo, Yevgeniy. "ЮНЫЙ СКРИПАЧ [THE YOUNG VIOLINIST]: A RUSSIAN/SOVIET VIOLIN METHOD". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/486470.

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Johnson, Eric Thomas. "Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218690824.

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Bilderback, Barry T. "Nationalism in Rimskii-Korsakov's instrumental music : an analysis of three symphonic works based on Russian themes /". view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018356.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.

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Bialecki, Melissa. ""They Believe the Dawn Will Come": Deploying Musical Narratives of Internal Others in Soviet and Post-Soviet Ukraine". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1493923081977843.

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Murphy, Patrick. "Sociocultural Perspectives on the Wind Orchestra Music of Boris Kozhevnikov, with an American Edition of the Fourth Symphony". Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194157.

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

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Reeve, Brian. "Nikolai Rimsky-Korsakov's use of the 'byliny' (Russian oral epic narratives) in his opera Sadko". Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/28574/.

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This thesis analyses the background in folk music, folk literature and folk art of Rimsky-Korsakov's sixth opera Sadko (1897). Attention is especially focused on the folk genre of the bylina, or Russian legendary and mythical oral epic narrative, from the field of which, uniquely in Russian opera, the plot of the opera is drawn. Furthermore, many incidental details of libretto and staging are derived from these epics, and, too, lengthy vocal extracts declaimed in the style of a typical Russian peasant bard. Rimsky-Korsakov also drew, however, on many other genres of folk music and folk art for his opera, and this thesis demonstrates that there is hardly one detail of this work, including cast list and stage directions, which does not derive from the Russian folk tradition. However, some critics have maintained that the measured oral unfolding of an epic narrative does not lend itself readily to adaptation for the stage, and that there are long periods of stasis in the action of the opera. The thesis rebuts this assertion by examining Rimsky-Korsakov's artistic and aesthetic conceptions, and by demonstrating that, through his adaptation of such epic material for the musical theatre, the composer was attempting to create a new genre of stage art, in which the conventional dramatic canons were to be set aside. This thesis, therefore, firstly analyses the genre of the bylina in detail, then studies Rimsky-Korsakov's background in the culture of his period, which led to his profound immersion in Russian folk culture. Subsequent to this, the other major sources of the opera Sadko are examined, as are Rimsky-Korsakov's collaboration with Mamontov's Private Opera Company, which premiered this work, owing to the composer's difficulties with the Imperial Theatres. Following an analysis of the score and libretto to ascertain how the composer incorporated his sources into his work, the thesis concludes with an evaluation of the alleged dramatic weakness and static quality of the score, and an analysis of whether the attempt to transfer an oral linear narrative to the stage was in fact successful.

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Halbe, Gregory A. "Music, drama and folklore in Nikolai Rimsky-Korsakov's opera Snegurochka (Snowmaiden)". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101310922.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains x, 187 p.; also includes graphics. Includes bibliographical references (p. 180-187).

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Kozlova, Yulia V. "Sources of inspiration in selected piano works by Sergei Slonimsky". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117574266.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xi, 103 p.; also includes graphics. Includes bibliographical references (p. 100-103). Available online via OhioLINK's ETD Center

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35

Han, Gyuhyun. "The Franco-Belgian Violin School: Pedagogy, Principles, and Comparison with the German and Russian Violin Schools, from the Eighteenth through Twentieth Centuries". University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1573811079370959.

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Pelekanou, Anna. "The role of Sobornost in twentieth-century Russian music : from Alexander Skriabin to the transcendental style of Sofia Gubaidulina". Thesis, University of Nottingham, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659190.

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Sobornost is an aspect of the symbolism surrounding Russia's Orthodox religious rites. Its primary use in religious texts was to describe such gatherings in which the authority of God was invoked upon all communal activities. Sobornost emerges as a critical thread running through Russian musical culture. It was introduced into music by Alexander Skriabin, appropriated by the first modernist avant-garde in the later 1910s and 20s, and then reinterpreted at critical stages in the development of later Russian music. The aim of presenting this historical trajectory is to contextualise the 'second avant-garde' that developed during the 1970s, and to acknowledge Skriabin and the early avant-garde as consequential in the evolution of the later ' transcendental style.' Skriabin, similar to the ' Mystics' symbolist movement, attached metaphysical significance to the concept of the' artist as a creative vessel' which, as is the case with Nikolai Berdiaev's (1874-1948) ' ethics of creativity' , affirms the value of the unique and the individual. The desire to establish a thread that links sobornost - unity - and the indi vidual approach to the compositional process fOlms an impoliant part of this study. Exploring the different developments within the fragmented evolution of twentiethcentury Russian composition is integral in this context. Cultural and religious afterimages became the initial attraction and stimulus for the formation of new music that developed at the margins of the Soviet Union's 'official' concert life. Sobornost as expressed within the ritual of the Olihodox liturgy bears similarities with the 'transcendental idiom' that evolved from the second avant-garde during the 1970s. This transcendental idiom is at once a celebration of time and of eschatological reality; an anticipation of the 'world to come', as well as nostalgic of a concrete historical past. Several of Sofia Gubaidulina's pieces have the tendency to transcend the purely musical in favour of the symbolic, and often connote a ritual action; even their structures refer to something extra-musically religious, such as the cross, crucifixion, resurrection and transfiguration. In this context, Gubaidulina's music is presented as a case study to examine the changing role of sobornost in twentiethcentury Russian music. Significant works are used as exemplars of this larger pattern of historical interpretation.

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Wilson, Tara Jane. "Russian post-minimalist music : a semiological investigation into the narrative approaches employed by Alexander Knaifel between 1978 and 1994". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16613/.

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Russian post-minimalist music, unlike early American minimalist music, aims primarily to function as discourse. As a symbolic system, however, it is problematic in that its intended meanings are commonly not understood. Whilst a dichotomy between the ‘poietic’ and the ‘esthesic’ exists within all musics – due largely, Jean Molino asserts, to the nature of the Peircean sign – this dichotomy is heightened within Russian post-minimalist music due to certain specific and often paradoxical factors. For example, the highly reductive signifiers on the ‘neutral’ level actively prompt multiple interpretations and engender unwanted significations. The post-minimalist music of Alexander Knaifel (b. 1943) is especially problematic in this respect. Whilst he attempts to convey complex allegorical narratives using ascetic forms limited in teleology, further difficulties arise in that he purposefully obscures meaning whilst attributing miscomprehension to ‘passive listening’ rather than to semiological, compositional or cultural factors. To date, no examination of his approach to discourse has been made. All analysis is formalist, rather than that which examines his oeuvre as a symbolic system. In response, this research takes the form of a semiological investigation. Using Molino’s ‘tripartition’ and theory of communication as an underpinning model, I examine and critique the ‘poietic’ – i.e. Knaifel’s post-minimalist approach to discourse as established in 1978 – before discussing how this has developed through 1994. Focusing upon the inter-relationship between the ‘neutral’ and the ‘poietic’, I analyse three key works that exemplify these developments: A Silly Horse (1981), GOD (1985) and In Air Clear and Unseen (1994), with the aim of identifying the meanings intended and the principal codes and strategies employed to convey and obscure those meanings. My methodology is broadly structuralist within a Peircean framework. I identify paradigms (Barthes’ classification) on the semantic syntagmatic axis before examining their corresponding musical paradigms, and the structural, intra-textual and inter-textual relationships involved.

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Gordiienko, Anastasiia. "Russian Shanson as Tamed Rebel: From the Slums to the Kremlin". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531991091969233.

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39

Cho, Min-Jung. "A performer's guide to the six Preludes, op. 6, and Toccata, op. 15, of Robert Muczynski : With a short synopsis of Russian influence and style /". Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039032702.

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Cull, Logan P. "The Mysteries of Spirit: Cross-Currents in Russian Modernism (Alexander Scriabin & Nikolai Shperling)". Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1494013315151203.

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41

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

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

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42

Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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

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

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44

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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Petrova, Irina School of Music &amp Music Education UNSW. "A comparative study of primary/ elementary school music curricula in Australia (NSW), in the UK (England), in the Russian Federation and in the United States of America". Awarded by:University of New South Wales. School of Music and Music Education, 2005. http://handle.unsw.edu.au/1959.4/23330.

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In different countries, the music curricula for primary/ elementary school children has been influenced by many diverse factors including a number of progressive educational practices and a variety of psychological theories. This research gives a detailed analysis of a number of primary/ elementary school programs for general music in Australia (New South Wales, i.e. NSW), in the UK (England), in the Russian Federation and in the United States of America. The research aims to find out to what extent music education in different countries is based on or follows psychological theories of child development and progressive educational practices. Firstly, to acquire an adequate understanding of child education this research examines the philosophical roots of primary/ elementary education and a set of psychological ideas of Piaget and Vigotsky about the nature of children and the nature of knowledge. This provides insight of how children learn (the nature of learning) and the role of the teacher in learning music. Secondly, the research examines the musical content of the syllabae (the nature of subject). It critically compares the following components of curricula and syllabae: philosophy, objectives and contents including musical concepts, activities and music repertoire. This is then subjected to further analysis examining these contents in relation to theories of child development (Piaget and Vigotsky) and traditional and progressive educational practices (where it is applicable). Finally, a questionnaire is aimed at primary school teachers in NSW. These teachers are generalist teachers, there are no specialist music teachers employed as such in public primary schools in NSW. Music is taught in the NSW primary schools by class teachers. The problem is that NSW university faculties of education do not train music teachers as specialists at primary level. They only train generalist teachers. In other countries the situation is different. There are music specialists in the USA, UK and Russia teaching in primary schools. There are also such teachers in primary schools in Queensland, SA, Victoria, and WA and there are some in NSW. The questionnaire was, therefore, designed to enquire into the specific situation in NSW. Finally, issues of further investigation and research of curricula and syllabae in the primary/ elementary school are outlined.

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Impara, Christine Louise. "To Love is Human: Leonid Zorin's A Warsaw Melody Considering Concepts Love and Fate in Russian Culture Reflected in its Theatre Tradition". Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589579622867398.

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Erken, Emily Alane. "Constructing the Russian Moral Project through the Classics: Reflections of Pushkin’s Eugene Onegin, 1833-2014". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449191980.

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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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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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Alston, Ray S. ""Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera"". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524176697602489.

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