Artykuły w czasopismach na temat „Russian music”
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Biasioli, Marco. "“We also can. We're not worse”: The Anglophone Wave in Russian indie music (Indi), 2008–2012". Popular Music 39, nr 2 (maj 2020): 294–311. http://dx.doi.org/10.1017/s0261143019000254.
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AbstractThis article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East–West relations; Russian economic growth and the subsequent renovation of Moscow; and the connectivity and expansion of the independent music community. The article also argues that the success of local Anglophone bands, as well as the appearance of an ‘indie’ sound and an ‘indie’ music scene (indi), was the result of a concerted effort by Russian music participants to bring and incorporate the Other – the West – into Russia's everyday life. The English language, correspondingly, functioned as a ‘tool’ for this operation.
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Piotrowska, Anna. "The place of ‘Russian music’ on the multicultural map of Europe". Muzikologija, nr 21 (2016): 109–22. http://dx.doi.org/10.2298/muz1621109p.
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Both Russian and non-Russian composers and music critics willingly used the notion of Russian exoticism to differentiate the Russian musical legacy from the (western) European tradition, especially in the 19th century. At the same time, various Russian musical practices were considered to be exotic in Russia itself. In this article it is suggested that these two perceptions of Russian music influenced each other, having an impact on the formation of Russian national music. It is further claimed that Russian music served both as an internal and external tool for defining the country?s musical culture on the multicultural map of Europe.
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Seaman, Gerald. "On Russian Music". European Legacy 18, nr 4 (lipiec 2013): 525–26. http://dx.doi.org/10.1080/10848770.2013.791459.
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Fanning, David, i Stuart Campbell. "Russians on Russian Music, 1830-1880: An Anthology". Musical Times 136, nr 1828 (czerwiec 1995): 307. http://dx.doi.org/10.2307/1004106.
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Christensen, Peter G., i Stuart Campbell. "Russians on Russian Music, 1830-1880: An Anthology". Slavic and East European Journal 40, nr 3 (1996): 577. http://dx.doi.org/10.2307/310163.
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Blackford, Lena. "Musical education in Russian secondary schools". British Journal of Music Education 14, nr 1 (marzec 1997): 57–67. http://dx.doi.org/10.1017/s0265051700003442.
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This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.
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Doroshenko, S. I. "MUSIC EDUCATION IN RUSSIA: RETROSPECTIVE AND FORECAST (ACCORDING TO THE MATERIAL OF THE SEVENTH SESSION OF THE SCIENTIFIC COUNCIL ON THE PROBLEMS OF THE HISTORY OF MUSIC EDUCATION)". Bulletin of Udmurt University. Series Philosophy. Psychology. Pedagogy 30, nr 1 (27.04.2020): 63–68. http://dx.doi.org/10.35634/2412-9550-2020-30-1-63-68.
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The article analyzes the results of Russia's largest scientific and practical event dedicated to music education: the seventh session of the Scientific Council on the problems of the history of music education, held in Vologda on April 23-26, 2019. The program of the session included the international scientific conference “Preparing of a music teacher: Historical Experience, Problems, Prospects”, the Russian Scientific Seminar and the All-Russian Symposium. The results of the session, which brought together more than 70 leading researchers in the history of music education in Russia and the near abroad, are summarized in key areas. A retrospective analysis of the activities of music and pedagogical faculties of pedagogical universities, operating in the country since 1959 and practically eliminated at present, is considered as the leading theme. The results in other areas of the session are also generalized: the development of the history of music education as a field of historical, pedagogical and musicological knowledge; history of vocational and school music education. Crisis phenomena in music-pedagogical education are marked.
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Kazantseva, Liudmila P. "“Musical Rossica” as a Musicological Term". Music Scholarship / Problemy Muzykal'noj Nauki, nr 1 (2022): 22–34. http://dx.doi.org/10.33779/2782-3598.2022.1.022-034.
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During the course of centuries in the music of composers from outside of Russia one can discern an entire category of works dedicated to Russia. The experience of certain spheres of knowledge – book studies, source studies, archival studies, map studies, collecting, history, literary studies, art studies, cinema studies – has stipulated the possibility of applying the concept of “Rossica,” well-known in scholarly use, to this segment of artistic expression. The article offers and substantiates the concept of “musical Rossica” as a sphere of musical creativity, demonstrating a vision of Russia (or, in the narrow sense, of Russianness) through the prism of other cultures. Considering the importance of mental-culturological distancing of the Russian from the non-Russian, it becomes a legitimate position to add to the musical Rossica the compositional legacy of Russian émigrés connected with their former homeland. A differentiation of the concept (“German musical Rossica,” “romance-song Rossica,” “folk music Rossica,” etc.) is accepted. The concept of “musical Rossica” discloses a number of possibilities: to attract attention to the lesser-known marginal field of the outstanding masters’ heritage (Georges Bizet, Charles Gounod, Gaetano Donizetti, Felix Mendelssohn-Bartholdy and Franz Schubert); to bring into the scholarly domain artefacts previously cast aside onto the periphery of the historical process; to find meaning not only with separate works, but with a serious artistic tendency; to indicate a problem field which would be productive for musicology. “Musical Rossica” makes it possible to build a more complete picture of the musical field outside of Russia, to form an objective evaluation of the significance of Russian music as a part of the world music process, to overestimate the role of the literary heritage of Russia (through its numerous musical interpretations) in foreign culture, and, thereby, to make a feasible contribution to the formation of the self-consciousness of Russians, as well as an objective international image of Russia.
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Piotrowska, Anna G. "Tsyganshchina (цыганщина) and Romani Musicians in Tsarist, Soviet and Post-Soviet Russia: Change and Continuity". European History Quarterly 52, nr 4 (28.09.2022): 554–71. http://dx.doi.org/10.1177/02656914221097293.
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The main goal of this paper is to recognize and explain the specificity of the public presence of Romani musicians in Russia, predominantly in the long nineteenth century as well as in the new (Soviet and post-Soviet) political situation of the twentieth century. The article offers a historically oriented outline of the Romani musical traditions deeply embedded into the cultural, political and economic situation of the country. A special focus is placed on the phenomenon of the so-called ‘Gypsy choirs’ and their reception in Russia both by Russians and by foreigners, the latter being often surprised that while in Central and Western Europe Romani musicians were known for instrumental music, in Russia their vocal music (particularly so-called ‘Gypsy romances’) gained considerable popularity. The paper argues that Romani musicians from ‘Gypsy choirs’ identified and learnt to address the Russian aesthetics and thus managed to secure and sustain their unique position within the Russian culture.
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Ferenc, Anna. "Reclaiming Roslavets: The Troubled Life of a Russian Modernist". Tempo, nr 182 (wrzesień 1992): 6–9. http://dx.doi.org/10.1017/s0040298200016661.
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It is evident by now that swift political changes have had an impact on music scholarship in Russia. A radical shift from rejection to appreciation of the music of Russian early 20th-century modernists was announced on the pages of Sovetskaia Muzyka in January, 1991, where the following admission appeared: ‘By silencing the activities of the musicians of the Russian avantgarde for a prolonged period of time, we have in essence artificially narrowed the complex panorama of our music history.’ In the case of Nikolai Andreevich Roslavets, the process of historical revision has included recent publication and re-publication by Muzyka of some of his piano and chamber music. At a time when paper shortage is critical in Russia, such an effort demonstrates a sincere commitment to acknowledging his work. Certainly, another welcome result of this new attitude has been access, though apparently still limited, to the Roslavets archives in Moscow. The valuable information contained therein provides biographical details which finally allow for a substantiated and more definitive statement on the life of this composer who figured so prominently among the Russian modernists.
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Zvereva, Svetlana. "Russian Dresden of the 1920s and 1930s: Profiles of musical, church and social life". Muzikologija, nr 30 (2021): 35–56. http://dx.doi.org/10.2298/muz2130035z.
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This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.
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Yiqun, Jiang. "Influence of music of Soviet Russia on Chinese music culture in the 20th century". OOO "Zhurnal "Voprosy Istorii" 2022, nr 3-2 (1.03.2022): 229–38. http://dx.doi.org/10.31166/voprosyistorii202203statyi21.
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Being an important component of world music, Russian musical art not only embodied the spirit and culture of the Russian nation, but at the same time influenced the development of musical culture in many neighboring countries. After examining the development of modern Chinese musical culture, one can find that Soviet and Russian music, as an important component of Western musical culture, had a profound influence on Chinese musical education and the musical life of the broad masses of the population. Starting from the northeastern regions of the PRC, the musical culture of Soviet Russia subsequently spread throughout the country, found a response in the hearts of not only ordinary people, but also members of the government. Soviet music played a positive and stimulating role in the development of Chinese music, not only at the level of creativity and performances, but also at the level of the development of ideological and aesthetic consciousness.
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Mezentseva, Svetlana V. "The Russian Far East — China: Ways and Prospects of Interaction in Academic Musical Culture". Observatory of Culture 18, nr 4 (11.10.2021): 366–76. http://dx.doi.org/10.25281/2072-3156-2021-18-4-366-376.
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The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.
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Haydarov, Azizbek. "A LOOK AT RUSSIAN MUSICAL CULTURE IN THE SECOND HALF OF THE XIX CENTURY". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, nr 11 (1.11.2021): 24–31. http://dx.doi.org/10.37547/pedagogics-crjp-02-11-08.
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This article tells about the activities of Russian composers in the second half of the XIX century, the creative life of Russian music, the work of composers of these years.In the first half of the 19th century, the role of the Russian classical school proved to be important in countries other than Russia.In the second half of the nineteenth century, Russian music became one of the most advanced forms of musical art that determined the further development of European musical art.
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Sargeant, Lynn M. "High Anxiety: New Venues, New Audiences, and the Fear of the Popular in Late Imperial Russian Musical Life". 19th-Century Music 35, nr 2 (2011): 93–114. http://dx.doi.org/10.1525/ncm.2011.35.2.93.
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Abstract Russia's social and economic transformation at the beginning of the twentieth century was accompanied by profound cultural and artistic transformation. In particular, Russian cultural elites struggled to control and contain what they saw as threats to Russia's national culture. At the same time, however, they sought ways to bring the working classes into a closer cultural accord with educated society. Although these efforts continued a long process of intelligentsia efforts to shape Russian society by controlling the development of “the people,” industrialization and urbanization had already begun to fundamentally restructure the relationship between the educated and popular classes. In musical life, the intelligentsia struggled with two somewhat contradictory impulses: first, to simultaneously protect musical and song traditions from the threat of contamination by new urban genres; and second, to develop “rational recreations” that would appeal to the peasantry and the urban working classes. To those ends, they created, among other activities, accessible (obshchedostupnyi) concerts, temperance choirs, and singing classes in a wide variety of locations across the Russian Empire. These musical projects were part of a much larger, somewhat utopian effort by educated society to create an ideal Russia by eliminating its supposed social, cultural, economic, and political backwardness relative to Western Europe. Nevertheless, the consequences for Russian musical life proved significant. Not only did these efforts lay the moral and intellectual foundation for Soviet-era interventionist and utopian cultural policies, but they also in the short term significantly diversified and democratized musical life in the last decades of tsarist rule.
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Taraskin, Ricard. "The birth of contemporary Russia out of the spirit of Russian music". Muzikologija, nr 6 (2006): 63–76. http://dx.doi.org/10.2298/muz0606063t.
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In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author?s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo P?rt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
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FAIRCLOUGH, PAULINE. "The Russian Revolution and Music". Twentieth-Century Music 16, nr 1 (luty 2019): 157–64. http://dx.doi.org/10.1017/s1478572219000148.
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Nearly thirty years since the collapse of the Soviet Union, we have got used to seeing the Bolshevik Revolution as the prelude to a failed political experiment, albeit one that lasted a remarkably long time. But why do we see it as a failure? After all, the Soviet Union was a vast empire regarded as the military equal of the United States, feared and hated by successive US presidents, whose influence extended far beyond Soviet borders to include regimes in Africa, South East Asia, Central and South America. Had Mikhail Gorbachev not been removed in 1991, and had the Soviet system been able to reform itself into something like the form of communism we see today in China, no one would regard those seventy-plus years of Soviet power as a failure at all. What is meant by failure, in truth, is not really military or economic failure so much as a failure to sustain and uphold the ideals of equality and social justice that originally drew so many to the communist cause. The haemorrhaging of members from the Communist Party of Great Britain (CPGB) in 1956, for instance, was a result of widespread feelings of shock and disgust after Nikita Khrushchev's revelations at the Twenty-First Party Conference that year, at which he delivered his so-called ‘secret speech’ condemning Stalin's regime. For those who left the CPGB, and other communist parties across Western Europe, it was painful to realize that what they had for decades dismissed as ‘anti-Soviet propaganda’ had in fact been accurate reportage. Most shocking of all was learning that the mass arrests and disappearances of the 1930s, and even the show trials of prominent Politburo and party members, were not proportionate, if regrettable, responses to plots to murder Stalin and overthrow Soviet power at all, but rather Stalinist crimes of epic and tragic proportions. Right up to the end of the Communist regime in Russia, reports of political and religious repression, the continued use of the Gulag system, confinement and forced treatment of dissidents in mental hospitals, literary and other cultural censorship continued to filter through the Iron Curtain.
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Brown, David, i Gordon D. McQuere. "Russian Theoretical Thought in Music". Music Analysis 5, nr 1 (marzec 1986): 103. http://dx.doi.org/10.2307/854344.
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Seaman, Gerald. "Music and the Russian revolution". History of European Ideas 11, nr 1-6 (styczeń 1989): 197–202. http://dx.doi.org/10.1016/0191-6599(89)90208-8.
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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century". Musicological Annual 43, nr 2 (1.12.2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.
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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.
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Quillen, William. "Winning and Losing in Russian New Music Today". Journal of the American Musicological Society 67, nr 2 (2014): 487–542. http://dx.doi.org/10.1525/jams.2014.67.2.487.
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This article examines some of the organizational changes shaping Russian new music from the collapse of the USSR in 1991 to the present and their consequences for composers active in Russia today. The Soviet collapse triggered significant transformations in how new music in Russia is funded, where and by whom it is performed, and how it is promoted and distributed. These developments have affected the opportunities available to contemporary Russian composers, their strategies for career success, and how they envision their place vis-à-vis other composers or within society at large. More significantly, such changes have shaped individual composers' creative practices: as composers moved into new collaborative networks after the Soviet collapse; as the resources at their disposal changed; and as they composed for new performers, markets, or patrons, so, too, did their styles change. In explaining musical developments from an organizational perspective, this article draws upon theories from the sociology of culture literature, in particular Howard Becker's idea of “art worlds” and the production-of-culture perspective developed by Richard Peterson and others. The article also considers factors other than organizational ones affecting Russian music today, including the generational shift presently underway as members of post-Soviet birth cohorts enter the professional ranks.
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Steinholt, Yngvar B. "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs". Popular Music 22, nr 1 (styczeń 2003): 89–108. http://dx.doi.org/10.1017/s0261143003003064.
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From the mid-1980s, rock music emerged as the leading musical culture in the major cities of the Soviet Union. In writings and research on this ‘Soundtrack of Perestroika’, attention has been primarily paid to the words rather than the sounds. Russian rock critics and academics, as well as those who participate in Russian rock culture, persistently emphasise the literary qualities of Russian rock music and most still prefer to approach rock as a form of musical poetry - ‘Rok poèziya’. This seems out of step with the growing emphasis on an interdisciplinary approach within popular music studies. The aim of this article is to investigate and discuss some of the core arguments that underpin notions of Russian rock music's literary qualities. This may help to uncover some specific national characteristics of rock in Russia, whilst at the same time questioning the need for, and value of, a literary approach to the study of Russian rock.
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Ping, L., M. A. Yuyshin i I. A. Arzumanov. "On the Protection of Intangible Heritage of Russian Folk Oral Music in the Context of Intercultural Communication (Hulunbuir, Inner Mongolia)". Concept: philosophy, religion, culture 5, nr 3 (28.09.2021): 177–92. http://dx.doi.org/10.24833/2541-8831-2021-3-19-177-192.
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The article discusses the issues of preserving the genre of Russian folk oral musical creativity in the village of the Argun and the city of Hulunbuir, Inner Mongolia, located in the northern part of China. The issue is viewed in the context of intercultural communication between descendants of Russian immigrants and Chinese locals. The article considers the factors in the formation of the ethnic group of Chinese Russians in Hulunbuir, an area of Russian immigrants’ compact settlement, and the markers of their distinct ethnic identity. Chinese Russians are a specific ethnic group since over several generations they fused with the local ethnicities yet preserved their unique cultural background. One of the peculiar aspects of Russian culture observed within the community of Chinese Russians is chastushka, or ditty, a short witty song expressing an individual’s attitude to any happening. The authors give records of the texts of ditties on various subjects, such as love, daily life, politics, etc. The folk genre of chastushka indicates intercultural communication between China and Russia and the integration of ethnic Russians into Chinese society. The article reveals the problems of protection of the Russian chastushka in the region and possible measures of state provision of its protection as intangible cultural heritage. Both national and local authorities take steps to ensure the continuity of various identities within the national identity of China. Several proposals have been put forward for the protection of the local heritage of this genre of the city of Hulunbuir. Such measures may include further research of cultural materials, enhancing tourism in the region, and incorporating ditties into local festivities Based on the historical and cultural significance, the research points to the real impact of Russian folk oral musical creativity in the processes of Russian-Chinese intercultural communication. The authors underline the significance of the ditty as intangible cultural heritage and the need to include the ditty in the list of the cultural heritage of Chinese Russians. The need to create conditions and state-organizational support for various forms of popularization of this genre, especially for those studying the Russian language, to preserve the oral folk musical creativity of Chinese ethnic Russians is substantiated.
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Yunusova, Violetta. "World Music Cultures in Russian Musical Education". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (27.06.2022): 103–8. http://dx.doi.org/10.30819/aemr.9-8.
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The article is devoted to the analysis of the history and the current state of the study of World Music Cultures in the Russian higher musical education. The article mainly took into account the experience of St. Petersburg and Moscow as the most indicative. The process of introducing World music in training courses in Moscow and St. Petersburg included four stages. Within the framework of the first stage, ethnomusicology, the history of music was coordinated. Some problems of World music were highlighted by Russian scientists MI Ivanov–Boretsky and B Asafiev. In the second stage, RI Gruber's multilateral activities stand out, whose course, History of World Musical Culture included extensive material on musical cultures of Ancient East, including Iran, India, China, as well as medieval Chinese and Arab cultures. The third stage is characterized by the separation of World Music Cultures into a separate area of research and training courses. This process is demonstrated with the example of the creative activity of the composer and scientist JK Mikhailov. He based his approach on the positions of musical cultural studies and combined with a training course with several scientific directions: the history of music, music Oriental studies, and ethnomusicology. The modern stage parameters of the course, of nonEuropean musical cultures, are indicated. The spread of the course in Russia and neighboring countries, the republics of the USSR, is shown. The author gives examples of the programs and the manuals for this course, and indicates the position of training in the field of postgraduate and doctoral studies. This direction is developing in four modern schools of Russian musical Oriental Studies: Moscow, St. Petersburg, Novosibirsk, and Far Eastern.
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ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties". Journal of the Society for American Music 14, nr 4 (listopad 2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.
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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and the Gershwin brothers. Based on an examination of archival material—including memoirs, compositions, and extant recordings of Club Petroushka's musicians and photographs detailing its interior—as well as on advertisements and reviews from Russian American and other newspapers and magazines, this essay contends that the “Russian Gypsy” music presented at Club Petroushka enabled a transformative experience for patrons while providing a performative space for its recently exiled musicians. I argue that two aspects of this music in particular enabled the transformative process as it was delineated in contemporary discourses: 1) heightened emotionality; and 2) playing with a sense of time (a musical attribute I call “achronality”). Examining the complex cultural entanglements at work in the performance of “Russian Gypsy” music and situating my analysis within a theoretical framework of night cultures proposed by Brian D. Palmer and mimesis proposed by Michael Taussig, this essay illuminates the multivalent role of this musical trope for the different constituencies comprising Club Petroushka, while it also documents the largely overlooked Russian-Romani musical tradition as it took shape in the anti-Bolshevik, first wave Russian diaspora.
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Klujev, Alexander S. "Philosophy of Music in the Mirror of the Contemporary Age. Article 2". Russian Journal of Philosophical Sciences 64, nr 7 (15.07.2021): 137–50. http://dx.doi.org/10.30727/0235-1188-2021-64-7-137-150.
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The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers (Soprotivlenie Materiala – “Resistance of Material”) are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group (Muzykal’noe Ob’edinenie “Sovremennaya Traditsiya” – Musical Association of Contemporary Tradition). Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries.
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Garden, Edward, i I. Petrov. "Russian Orchestral". Musical Times 128, nr 1728 (luty 1987): 91. http://dx.doi.org/10.2307/964787.
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MacDonald, Hugh. "French, Russian". Musical Times 127, nr 1717 (marzec 1986): 155. http://dx.doi.org/10.2307/965501.
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Rye, Matthew. "Russian Rarities". Musical Times 130, nr 1760 (październik 1989): 617. http://dx.doi.org/10.2307/965594.
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Roseberry, Eric, Prokofiev i Shostakovich. "Russian Opera". Musical Times 132, nr 1786 (grudzień 1991): 614. http://dx.doi.org/10.2307/965796.
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Giust, Anna. "Catherine II’s the early reign of Oleg: Sarti, Canobbio and Pashkevich working towards an ideal". Muzikologija, nr 20 (2016): 15–30. http://dx.doi.org/10.2298/muz1620015g.
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This paper focuses on Catherine II?s The Early Reign of Oleg (1790) as a demonstrative performance of the sovereign?s policy. In the context of Catherine?s early nationalistic pride and her ?Greek project?, the performance is understood as a synthesis embodying in music the vision of Russia as an Empire ready to receive the heritage of Byzantium, thanks to Sarti?s use of modes combined with the Russian folk elements introduced by Canobbio and Pashkevich. In this context, Nikolay L?vov represents the joining link, having theorized that Russian folk music originated from ancient Greek music.
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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia". Studia Universitatis Babeş-Bolyai Musica 65, nr 2 (21.12.2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.
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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"
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Garmash, O. A. "Sources of Russian Musical Management: Unexplored Pages". Observatory of Culture, nr 3 (28.06.2015): 63–69. http://dx.doi.org/10.25281/2072-3156-2015-0-3-63-69.
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Sources of Russian Musical Management: Unexplored Pages (by Olga Garmash) considers the history of organization of musical life in Russia in the epoch «before management». The author views this theme through a prism of previous music experience based on some historical sources of the end of 19th - beginning of 20th century. The main line - a composer’s one - of the classic music promotion of that time has been examined.
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Issiyeva, Adalyat. "Dialogues of Cultures". Revue musicale OICRM 3, nr 1 (6.06.2019): 71–92. http://dx.doi.org/10.7202/1060122ar.
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The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. As the famous Russian Orientalist Vasily Bartol’d complained, “The Orient’s neighbour, Russia, despite its geographical proximity, often preferred reading shoddy Western books on the Orient to a direct study of the Orient” (Bartol’d 1925, p. 295). 1 This occurred as a result of the nineteenth-century travels of many Russian literary men, painters, and linguists to Europe (notably to France and Germany) to study with famous Orientalists. This paper contextualizes French Orientalism within nineteenth-century Russian culture and considers how French musical Orientalism was negotiated in Russian writings from the period. Despite the critical views of Russian musicians toward French music with oriental subjects, the music nevertheless resonated with Russian compositional practices and some of its devices were used occasionally to depict not only the Orient, but Russia itself.
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Helbig, Adriana. "Romani Music under Russian Occupation 2022". Problems of music ethnology 17 (2.01.2023): 40–43. http://dx.doi.org/10.31318/2522-4212.2022.17.270905.
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This article highlights how the Roma population in Ukraine has mobilized against Russian aggression. In particular, it analyzes Romani musical performances of popular Ukrainian-language songs that appeared during the war. Such musical performances, popularized on social media networks, have put Ukrainian Roma at the center of the narrative of Ukrainian resistance. Based on more than twenty years of ethnographic research among Romani communities in Ukraine, this article also emphasizes Romani contributions to Ukrainian defense efforts, including army service and refugee volunteer efforts. It offers current information about new Romani socio-political realities, which following Russia's invasion of Ukraine, reflect a positive shift towards increased acceptance of Roma by the non-Roma majority.
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Manulkina, Olga. "The Rite of Beauty: an introduction to the music of Leonid Desyatnikov". Tempo, nr 220 (kwiecień 2002): 20–24. http://dx.doi.org/10.1017/s0040298200009025.
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Leonid Desyatnikov is one of the most successful Russian composers of his generation and one of the most distinctive and individual on the contemporary Russian scene. He represents a rare instance of a contemporary composer in his mid-forties who has had all his works performed, some of them on many occasions. In the West, his music has been played by the Deutsche Sym-phony and the Leipzig Gewandhaus Orchestra. His vocal cycle Five poems by F. Tyutchev has been performed recently in London and Aldeburgh. Beginning in the mid-1990s, Gidon Kremer became the main champion of Desyatnikov's music; he has commissioned, performed and recorded a number of Desyatnikov's original works as well as his arrangements of Astor Piazzolla's music. To date, Kremer has performed Desyatnikov's Russian Seasons, for violin, female voice and string orchestra, composed in 2000, fifteen times in Europe, the Baltic countries and Russia. On 1 May 2002, he will present its American premiére at Carnegie Hall. The fact that Kremer, who earlier brought the music of such composers as Alfred Schnittke and Sofia Gubaidulina to international attent ion, has now ‘chosen’ Desyatnikov speaks volumes for the quality of the music.
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Shabshaevich, Elena M. "Anton Grigoryevich Rubinstein and his Russian Publishers". Observatory of Culture 18, nr 3 (22.07.2021): 284–98. http://dx.doi.org/10.25281/2072-3156-2021-18-3-284-298.
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The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.
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Gudimova, Svetlana. "MUSICAL AND AESTHETIC VIEWS OF V.F. ODOEVSKY". Filosofiya Referativnyi Zhurnal, nr 4 (2021): 166–85. http://dx.doi.org/10.31249/rphil/2021.04.10.
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Vladimir Fedorovich Odoevsky (1804-1869) was a man of truly encyclopedic knowledge and interests: writer (author of the first philosophical story in Russia and SF), philosopher, scientist, educator, popularizer of science, inventor, music theorist, researcher of Old Russian song art, founder of professional musicology in Russia, pianist, composer. This article deals only with his musical and aesthetic activities. Odoevsky was a Schellingian philosopher and fully shared the concept of art of the early German romanticists, in unison with whom he opposed the dogmas of rationalist classicist aesthetics. He is characterized by the romantic affirmation of music as the highest science and highest art. Odoevsky made a huge contribution to the formation of the Russian musical school. Paying special attention to specific forms of nationality in a musical composition, he constantly emphasizes that the composer's borrowing of folklore material without vivid melodic images only leads to a handicraft «cobble together» the rented material. The music critic does not miss a single attack by semi-literate scribblers directed against Glinka, Dargomyzhsky and other representatives of the Russian music school; he is engaged in musical enlightenment of the public. At the end of his life, Odoevsky wrote with hope: «The thought that I have sown today will rise tomorrow, in a year, in a thousand years…».
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Campbell, Stuart. "Modernism in Russian Piano Music: Skriabin, Prokofiev, and their Russian Contemporaries Music of the Repressed Russian Avant-garde, 1900–1929". Slavonica 3, nr 2 (listopad 1996): 68–75. http://dx.doi.org/10.1179/sla.1996.3.2.68.
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MacDonald, Hugh. "Russian and French". Musical Times 126, nr 1707 (maj 1985): 288. http://dx.doi.org/10.2307/961318.
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Galimullina, Alfiya Foatovna, i Ruslan Zinatullovich Khairullin. "MUSIC CODES IN MODERN RUSSIAN POETRY". Philology and Culture 62, nr 4 (2020): 89–95. http://dx.doi.org/10.26907/2074-0239-2020-62-4-89-95.
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Perepich, N. V. "Russian glorifying music: the key issues". Искусство и образование, nr 4 (2021): 9–19. http://dx.doi.org/10.51631/2072-0432_2021_132_4_9.
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Rakhimov, Kodirjon Karimberdievich. "The beginning of russian music culture". Asian Journal of Multidimensional Research 10, nr 12 (2021): 662–67. http://dx.doi.org/10.5958/2278-4853.2021.01235.0.
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Ritzarev, Marina. "Richard Taruskin—knight of Russian music". European Legacy 3, nr 6 (listopad 1998): 65–75. http://dx.doi.org/10.1080/10848779808579930.
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Peter J. Schmelz. "On Russian Music (review)". Notes 66, nr 3 (2010): 564–67. http://dx.doi.org/10.1353/not.0.0317.
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Holmes, Alena V. "Music in the Russian Preschool Curriculum". Perspectives: Journal of the Early Childhood Music & Movement Association 9, nr 1 (1.06.2014): 19–23. http://dx.doi.org/10.1386/ijmec_0267_1.
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Demchenko, Alexander I. "The Structure of Russian Music Scholarship: Historical Musicology". Music Scholarship / Problemy Muzykal'noj Nauki, nr 1 (2022): 7–21. http://dx.doi.org/10.33779/2782-3598.2022.1.007-021.
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Music scholarship is a discipline which studies the art of music, its regular laws and particularities, as well as its relationship with other types of culture and with reality in general. Music scholarship (musicology) is the one of the most important elements of art studies, along with literature studies (philology), art criticism as the discipline about the plastic arts (architecture, painting, graphics, sculpture), theater studies and cinema studies. It plays an indispensable role in the system of functioning of music – here its creation, performance and perception, music instruction and organization of musical life, the realization of the aims of the art of music and the understanding of the paths of their actualization. In Russian music scholarship the division into historical and theoretical music studies has been firmly established. This differentiation is conditional, since the methods of historical and theoretical music scholarship are seldom applied in pure form, and during the course of study of various different phenomena their interaction is a natural occurrence. Close interaction between them becomes absolutely inevitable in such cases as, for instance, examination any particular style or separate genres and their combination (in genre systems). Moreover, there exist such areas in music scholarship which cannot be relayed either to historical or theoretical musicology, since they are situated at the confluence of contiguous fields of knowledge and contemporary interdisciplinary research. The article examines various areas of historical music scholarship and their connection with educational activities.
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Weickhardt, George G. "Dictatorship and Music: How Russian Music Survived the Soviet Regime". Russian History 31, nr 1-2 (2004): 121–41. http://dx.doi.org/10.1163/187633104x00052.
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Frainier, Margaret. "A Tale of Three Rusalkas: Krasnopol’sky, Pushkin, and Dargomyzhsky". 19th-Century Music 45, nr 2 (2021): 167–82. http://dx.doi.org/10.1525/ncm.2021.45.2.167.
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Conventional histories of Russian opera mark Mikhail Glinka’s 1836 opera Zhizn’ za tsarya (A Life for the Tsar) as the point of origin for Russian nationalist opera that quickly burst into full bloom, yet by the middle of the century homegrown opera had fallen out of performance repertory in favor of Western European and particularly Italian imports. It was around this time that a group of amateur composers later known as the kuchka (the “Mighty Handful” or “Mighty Five”) re-ignited the debate around creating a uniquely Russian genre of opera; however, their efforts only obscured Russian opera’s European roots rather than establish a completely separate genre. Yet their critical campaign proved successful, and the idea of Russian opera as a uniquely nationalist genre remains especially prevalent. This article examines Aleksandr Dargomyzhsky’s Rusalka (1856), one of the earliest examples of this new type of Russian nationalist opera, and how it responds to the dominance of Italian opera in Russia during the mid-century by embedding Italian operatic conventions into the score itself. Rusalka also inaugurated the operatic trend of adapting literary works by Aleksandr Pushkin, the writer often cited as the father of Russian literature. This article illustrates how both Pushkin’s dramatic Rusalka and Dargomyzhsky’s operatic adaptation of it a generation later imitated Western European literary and theatrical conventions. Paradoxically, the ways in which Pushkin and Dargomyzhsky would conceal these Western parallelisms would later be hailed as markers of a uniquely “Russian” literary and operatic style in a critical campaign designed to erase Russia’s long history of artistic dialogue with the wider Continent.
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Окунева, Е. Г. "Concept of Serial Music in Western and Russian Musicology: Issues of Terminology". Научный вестник Московской консерватории, nr 4(35) (19.12.2018): 158–73. http://dx.doi.org/10.26176/mosconsv.2018.35.4.08.
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В статье прослеживается возникновение и развитие понятий серийной и сериальной музыки в различных национальных традициях музыкознания; обнаруживается ряд несоответствий, которые необходимо учитывать при использовании этих понятий в разной языковой среде.Понятие composition sérielle возникло во французском языке в конце сороковых годов как перевод немецкого Reihenkomposition, однако П. Булез в своих теоретических работах предпринял попытку отделить феномен серийности от имени А. Шёнберга. В немецком языке понятие serielle Musik появилось в начале пятидесятых как перевод французской musique sérielle. В 1955 году благодаря К. Штокхаузену и Г. Аймерту термин был переосмыслен и связан исключительно с композициями, развивающими принцип многомерной серийности. С течением времени понятие serielle Musik включило в себя также электронную музыку и постсериальные методы (техника групп, статистическая полевая композиция). В английском языке термин serial music объединяет технику письма Шёнберга и композиторов послевоенного авангарда, а иногда трактуется и как эстетическая категория.Отечественные ученые Ю. Н. Холопов и С. А. Курбатская рассматривают серийную музыку в узком (как технику, использующую высотные серии) и в широком смыслах (как технику, при которой вся ткань выводится из серии любого параметра); сериализмом именуется многомерная серийность (использование серий одновременно в нескольких параметрах). The article traces the formation and the development of the concept of serial music in various national tra-ditions of musicology; the author reveals discrepancy that must be taken into account when using conceptsin different languages.The concept of composition sérielle arose in French in the late 1940s as a translation of the German wordReihenkomposition; however, P. Boulez in his papers attempted to separate the serial phenomenon fromA. Schoenberg’s work. In German, the concept of serielle Musik appeared in the early 1950s as a translationof the French musique sérielle. In 1955, thanks to K. Stockhausen and H. Eimert, the term was rethoughtand associated only with compositions that develop the principle of multidimensional seriality. Eventually,the concept of serielle Musik included electronic music and postserial methods (group composition, statis-tical composition). In English, the term serial music combines Schoenberg’s technique and post-war avant-garde composers’ one, and is sometimes interpreted as an aesthetic category.Russian musicologists Y. N. Kholopov and S. A. Kurbatskaya consider the term серийная музыка in thenarrow sense (as a technique using series of pitches) and in a broad meaning (as a technique, in which theentire texture is derived from a series of any parameter); сериализм means multidimensional seriality (useof series in several parameters simultaneously).