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The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov's compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of Denisov's music. [ABSTRACT FROM AUTHOR]

Shostakovich's sketch materials have recently come to light through the publishing efforts of the Dmitri Shostakovich Archive in Moscow. The documents illuminate the composer's creative process in different genres, at different periods of his career, and through different working methods. The emergence of this collection, however, is relatively recent--the first published indications of a significant body of manuscripts came in 2002--and therefore, the collection's extent, the forces that shaped it, and the circumstances that governed its formation are still relatively opaque matters. As a step toward tracing this larger collection, this article offers a brief summary of the known sketches for Shostakovich's symphonies. These include partial or complete materials for fourteen (Nos. 1-5 and 7-15) of the fifteen published symphonies (with rumors of materials for the Sixth Symphony as well), and illuminate the types of manuscripts and methods of sketching that Shosta - kovich used in major works. Discussion may eventually take up the provenance of all Shostakovich's manuscript materials, but we appear to be years, if not decades, away from such work. More focused initial studies, like the one offered here, are thus crucial to that eventual account, particularly for a composer like Shostakovich, about whom there are so many conflicting and troubled narratives touching everything from his creative process to his ideological commitments. [ABSTRACT FROM AUTHOR]

Specific marks and symbols presented by music scores in Rimsky-Korsakov's Vocal Divertimento Spring (Op43. No. 2) were analyzed in a perspective of aesthetic synaesthesia. The aim is to interpret the composer's creative concept and thought intention，clear the mechanism，expression way and artistic means of basic aesthetic principle and rule so as to explore the aesthetic feeling，artistic culture and style of the works. [ABSTRACT FROM AUTHOR]

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Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 Pärt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires' musical expression of this image was inspired by Rimsky-Korsakov's Sheherazade and the Golden Cockerel. In 1909-910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother's Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from Rimsky-Korsakov's work is the contrast between the world of freedom, nature and fantasy and that of oppression.

The article offers information on pianist Gregory Haimovsky whose life and career is inseparably bound up with the history of Stalinism and its effect on Russian musical culture. It mentions that Haimovsky's period of early studies reveal a cultural context profoundly marked by an aesthetic of Socialist Realism that demanded composers and musicians conform their music with the victorious, progressive principles of reality, toward all things heroic, bright and beautiful.

Around forty thousand Russian emigrants settled in Yugoslavia running away from the terror of the 1917 Revolution. A high percentage of them were writers, artists, musicians and ballet dancers. Their greatest contribution to Yugoslav musical culture consists in the important acceleration they brought to the development of the domestic scene. Especially valuable were the activities of opera singers and directors, ballet dancers and choreographers, scenery designers, conductors of church choirs and music pedagogues.

Aram Khachaturian remains a neglected figure in scholarship on Soviet music, his work often held as exemplifying Socialist Realism at its most conformist. In this article I suggest that folk music strongly influenced his style well before the imposition of Socialist Realism, and that his musical language and aesthetics have much more in common with those of contemporary composers in the West than has previously been assumed. A central focus of the paper will be to examine the role played by Soviet musicologists in placing questionable critical constructs on Khachaturian's career and creative achievement. [ABSTRACT FROM AUTHOR]

In the present paper, my purpose is to offer a detailed presentation of two contrasting piano works, so as to demonstrate Scriabin's position at the crossing point between tradition and innovation. Sonata No. 3 in F# minor (1897) is an adequate example to show the composer's ability to use his unreserved creative energy in a stylistic space narrowed by traditional demands (four movements, tonal unity, traditional structures); on the other hand, Sonata No. 7, composed 15 years later, is a mature work which reflects his complex musical way of thinking, connected to his philosophical concepts about world and art. Monolithic structure, unitary thematic based on motivic and harmonic structures, explosive climaxes, fourths and fifths chords, synthetic chords (composed of six notes), mixed chord (major-minor), all these things are essential guide marks when analyzing a score signed by Scriabin, especially after 1907. [ABSTRACT FROM AUTHOR]

Copyright of Music Science Today: The Permanent & the Changeable / Mūzikas Zinātne Šodien: Pastāvīgais un Mainīgais is the property of Daugavpils University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article hereby includes conceptual aspects of the musical competences formation. It describes the realization of this process operating with the concepts of wellknown occidental, Russian and local researchers. One of the ideas characteristic to the researchers' pedagogical thinking is that, during the process of musical competence formation through art, the acquisition process mechanism is happening. For integrity in insuring the practical realization at of a musical education, the methodology we propose is based on research, an imposing theoretical network of successful pedagogical practices of remarkable scientists from all over the world. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as truthful as possible musical education. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Historia Contemporanea is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article profiles Russian composer Princess Natalia Ivanovna Kurakina. The growing influence of women classical composers in Russia in the 18th century is discussed. Kurakina's work includes French romances, Italian canzonetti and Russian rossijskie pesni. She was born in St. Petersburg to a noble family during the reign of Catherine the Great. Other topics include how female authorship was viewed in Kurakina's time, her international musical presence and her role as a music critic.

This essay offers an analyzis of Russian pop and metal-music and its specific use of Ukrainian language on Russian albums. On the album 'Brillianty' for example, released by the Russian girl-band 'VIA Gra' in 2005, the second track entitled 'Oy, hovoryla chysta voda' as opposed to the other tracks on this album is performed completely in Ukrainian. By means of the lyrics and the visual presentation per video, the song in general evokes the traditional Russian clichés of a simple-minded, bucolic Ukraine as opposed to a more elaborated and higher form of Russian culture. Since the video initially has been a part of the musical 'Sorochinskaya yarmarka' based on Nikolai Gogol's story with the same title, the use of Ukrainian literature in Gogol's novel and its very begin are compared to 'Oy, hovoryla chysta voda' and also to the specific visualisation of the lyrics in the video. The lyrics (which were in fact written by Dianna Gol'dè) are also compared to Ukrainian folk-songs. Next to 'VIA Gra', the Kaliningrad Metal-band 'Holdaar' in 2011 also made use of one single track in Ukrainian on the album 'Deti Sumerek Bogov'. As the fourth track on this album, 'Holdaar' performs a historical song of the Fourteenth Grenadier Division of the Waffen-SS and puts this track amidst other Russian songs which are based on the right-wing ideology of NS-black metal (NSBM). In order to demonstrate that the division seems to be used in Galicia to create a specific form of regionalism which deliberately separates Western Ukrainian historical memory from Russian-speaking Eastern Ukraine, the song of the division is linked to several examples of Western Ukrainian historical memory and literature. Part four of the essay finally turns to the last track on the album 'Popsa' released by 'Payushchiye trusy' in 2009 and to 'Net nichego khuzhe', the final track on 'VIA Gra's' album 'Brillianty', and demonstrates that Ukrainian language has not necessarily to play the role of the simple-minded subaltern on Russian pop-albums. The last (Ukrainian) song on 'Popsa', for example, in a witty manner makes fun of the various PR strategies to gain commercial success in the pop-business. 'VIA Gra' in its turn in 'Net nichego khuzhe' cooperates with the Ukrainian hip-hop-band 'TNMK' to present a mixed Russian-Ukrainian song which depicts uniform TV-entertainment in a most dystopian way. [ABSTRACT FROM AUTHOR]

Two centuries ago Russians settled in Georgia joining other ethic group (Jewish, Greek, Assyrians, Armenians etc. ) living here from old ages. From the beginning of 19th century battalions of Russian Army was permanently based in Dedoplistsqaro. Most of Russian soldiers and officers after the end of their service stayed to live in Georgia. Until now no interest was expressed to study the music traditions of these settlers. The expedition of the ethnomisical department of Ilia State University collected Orthodox Hymns and folk music of Russian population. The study showed that the music plays an important part in identity of these people. The problem of a dialogue between cultures is presented with historical, ethnographic facts and it is based on a sociological research. [ABSTRACT FROM AUTHOR]

The article discusses Russian vocal music during the Communist era in the 20th Century as represented by artists such as Sergei Rachmaninov, Georgi Sviridov, and Rodion Shchedrin. Topics covered include the roots of Rachmaninov's fascination with the voice, his Moscow Conservatory years, and the exceptional musical sophistication of his later songs that are catalogued under Opus numbers 26 to 38.

The article presents two biographies including Russian composers Petrovich Mussorgsky and Pyotr Illich Tchaikovsky. Topics discussed include songs composed by Mussorgsky, death of Mussorgsky due to alcoholism, and choral and singing studied by Pyotr during school time. Other topic discussed include the song "My Genius, My Angel, My Friend" written by Pyotr.

This article analyses the relationship between political youth organisations, music and national identity in contemporary Russia. It focuses on four of the most representative political youth groups present in the city of St. Petersburg -- the Young Guard, the National Bolsheviks, the Movement Against Illegal Immigration (DPNI), and Oborona [Defence] -- and describes their conceptualisation of post-Soviet Russianness, as captured through an analysis of their lyrics. The main contribution of this empirical study is the detection of convergences and divergences with regard to the national identity issue characterising youth organisations that position themselves differently in the Russian political spectrum. [ABSTRACT FROM AUTHOR]

The article describes the musical career of musician and composer Louis Katzman, as addressed at the 2013 Conference of the Association for Recorded Sound Collections held in Kansas City, Missouri. Topics discussed include the exposure of Louis towards Russian music since his parents played during the reign of the Russian Empire, Louis' start of his music career with the Hudson River Day Line orchestras, and his works like "March of the States" and "Ziegfeld Follies."

Although the music of Sofia Gubaidulina is well known, it has received little analytical attention. Approximately twenty-five years ago her friend and colleague Valentina Kholopova worked out a system for analyzing Gubaidulina's music. Kholopova shows that the composer usually groups together five so-called expression parameters (EP): articulation and methods of sound production, melody, rhythm, texture, and compositional writing. Moreover, each EP has either a consonant or a dissonant function; rarely does Gubaidulina mix the two functions. These ten parameters--five EPs functioning as either dissonant or consonant expressions--form what Kholopova calls the Parameter Complex in Gubaidulina's music. In this article I examine these topics, using Gubaidulina's Concordan^a and Ten Preludes for Solo Cello as exemplars. [ABSTRACT FROM AUTHOR]

Iuriĭ Kholopov's Garmonicbeskiĭ anally (Harmonic analysis) is a three-volume anthology, intended to accompany his textbook Garmoniia: Prakticheskii kurs (Harmony: a practical course), which formed the basis of the harmony courses he taught at the Moscow Conservatory in the 1980s. This paper provides a small glimpse into the anthology, particularly volume 3. This volume, which deals primarily with non-tonal music of the twentieth century, is the only one with its own subtitle: hemitonicism. The subtitle refers to a simple, intuitive analytical system in which groups of intervals that involve one or more semitones play a prominent role. The paper concludes with an examination of Kholopov's analysis of Denisov's Romanticheskaia muqyka (Romantic Music) for oboe, harp, and string trio (1968), a representative example of the analyses in Garmonicbeskiĭ analiz's third volume. [ABSTRACT FROM AUTHOR]

In Russian music theory, the concept of lad (mode) plays a central role in understanding non-tonal Russian music. There is no equivalent term in the West to explain Russian lad. Although early definitions simply described it as a diatonic scale, the term was later expanded, altered, and applied to non-tonal music of Scriabin, Prokofiev, and Shostakovich. Lad applies not only to the traditional church or Greek modes, but also to alterations thereof, as well as newly created modes, where orthography often determines the function of a single pitch. I explore the ever-changing concept of lad in the writings of prominent Russian theorists Alexei' Ogolevets, Alexander Dolzhanskil, Miroslav Skorik, and Iuril Kholopov, and I show how the concept enables discussion of non-tonal music, first from functional and then from voice-leading perspectives. The Russian analyses highlight continuity between twentieth-century repertoires and music from the commonpractice era. [ABSTRACT FROM AUTHOR]

In the article, the author discusses the life and works of Russian music composers Mikhail Ivanovich Glinka and Aleksandr Sergeyevich Dargomyzhsky. She also examines the music of the French, the Germans and the Russians. It claims that Glinka is considered the founder of Russian classical music. Among Glinka's works are the operas "A Life for the Tsar" and "Ruslan and Lyudmila."

This article focuses on the Soviet/post-Soviet singer Zhanna Aguzarova, as both frontwoman for the seminal Russian rock ‘n’ roll band Bravo and as a solo artist. Contextualising her musical output within the singer's frequent allusions to and performances of extraterrestrialism, and drawing upon works of Kristeva and Vygotskii, I contend that Aguzarova's voice and frequent use of vocables contributed to a creation of a performative space ‘outside’ of and in contradistinction to the linguistically over-determined ‘official’ Soviet space. In conclusion, however, I problematise the creation of a simple binary, showing how Aguzarova's musical Russianness, as well as her emigration from and return to Russia, constitute a type of ‘rooted Otherness’. [ABSTRACT FROM PUBLISHER]

Beethoven's treatments of the Russian folksongs in the "Razumovsky" String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments allows for a reappraisal of the quartets and the circumstances of their commission. Beethoven's setting of "Ah, Whether It's My Luck, Such Luck" (Opus 59, no. 1/fourth mvt.) juxtaposes folk and learned styles in ways that complicate the traditional relationship between "nature" and "artifice." His quasi-fugal treatment of the famous "Slava" tune (Opus 59, no. 2/third mvt.) engages this relationship from the perspective of self-conscious critique. Both settings recall the "synthetic" approach to art championed by Herder; they also evince a cosmopolitan aesthetic with wider cultural and political implications. The settings seem especially designed to appeal to the quartets' dedicatee, Count Andrey Razumovsky, a European Russian whose intense interest in serious music has been understated. These conclusions are brought to bear on Opus 59, no. 3, the only quartet in the opus lacking a labeled thème russe. Rather than returning to the Lvov- Pratsch Collection (1790/1806) for material, Beethoven appears to have incorporated a Russian folksong from a German source in the Andante's main theme. The movement fulfills in an unexpected way his pledge to weave Russian melodies into all three quartets. [ABSTRACT FROM AUTHOR]

An interview with scholar and musicologist Marina Ritzarev is presented. Topics discussed include her work as a musicologist in Russia before she came to Israel, the differences between Russian and Western musicology, and her involvement in developing 18th-century Russian music. Also mentioned are the book "18th-Century Russian Music," the puzzles of the symphony "Pathétique," and her sources of inspiration.

An essay is presented that examines the works of two Russian musicians Leonid Utesov and Arkadii Severnyi. Severnyi's music was based on city romance and the Odessa myth, with influences of the Gulag-era prison folk music. Utesov, a popular music star, was also a proponent of the Odessa myth, and was the first pop musician to be named People's Artist of the USSR.

In the north Caucasus, collective dance has long been an expression of communal identity and a forum for political dissent. In this article Sufian Zhemukhov and Charles King examine the emergence and transformation of a communal dance form known as adyge jegu (roughly, "Circassian festival") in the Russian republics of Adygeia, Karachaevo-Cherkesia, and Kabardino-Balkaria. They chart the history of the adyge jegu after 2005, elucidate debates over the meaning of authenticity in contemporary Circassian nationalism, and provide a detailed archaeology of the specific decisions that enabled this cultural artifact to get constructed in one way but not another. While attention typically focuses on elite-driven narratives of border security and terrorism, the adyge jegu highlights grassroots debates over the meaning of right behavior, the boundaries of communal identity, and alternatives to Russianness in either its russkii or rossiiskii varieties. [ABSTRACT FROM AUTHOR]

Yuri Kholopov is generally regarded as the foremost Russian music theorist in the latter half of the twentieth century. Though he published articles in a wide array of topics, he was happiest when discussing twentieth-century concepts; it was to this end that he devoted a large part of his life's work. The essay by Kholopov translated in the present article is from 1997, six years before he died. There are several significant points that he makes with respect to Stravinsky's music. First, Kholopov links a quotation from Stravinsky on harmony to Sergei Taneev's Invertible Counterpoint in the Strict Style, thus suggesting that by borrowing ideas from Taneev, the Petersburg-based Stravinsky was influenced by the Moscow-based Taneev. This speaks to a possible Russian influence on Stravinsky aside from Rimsky-Korsakov, whose influence on Stravinsky is not in doubt. Second, Kholopov posits a new fundamental "neotonality" in Stravinsky's music, which exhibits a "central element" (CE) to which all other tones gravitate. Third, Kholopov's work situates octatonicism into a broader framework of Stravinsky's compositional practices. Ultimately, it is but one aspect of this music and is not emphasized as a fundamental structural element in Stravinsky's music, as it is in writings by Arthur Berger, Pieter van den Toorn, and Richard Taruskin, for example. Fourth, in the section on polarity, Kholopov posits that when Stravinsky uses this term in relation to his music, he may have meant to say "stability," which was a term from the writings of Boleslav Yavorsky that most Russian musicians knew in the early twentieth century. This reinterpretation of polarity sheds new light on this most important concept in Stravinsky studies. Lastly, there is the idea that Stravinsky was, in fact, a serial composer for his entire life. Of course, Stravinsky famously claimed so himself late in life; Kholopov solidifies this claim, traces the evolution of Stravinsky's serial works, and finds an intriguing four-note series in Firebird. [ABSTRACT FROM AUTHOR]

It has long been a truism of music criticism that nineteenth-century Russian symphonic music lacks a true sense of development when compared with a normative German model. This article puts forward an alternative way of approaching Russian instrumental music, from the perspective of a different conception of musical and historical time. By interrogating both musically and culturally this idea of temporality, the article suggests a potential distinction between a specifically Western model of time and historical progress—marked by the qualities of onward teleological process and the capacity for organic development, as celebrated in the archetypal Beethovenian symphonic style—and a static, cyclical, repetitive, even timeless conception that may be seen to apply more aptly to several pieces of the nineteenth-century Russian repertory. Yet this neat binary opposition created between East and West is seen to be overly simplistic for many pieces that fall outside the small group of high-profile nationalist works from the Kuchka. The article ultimately argues for a richer understanding of music’s relation with time within both Russian and Austro-German traditions. [ABSTRACT FROM PUBLISHER]

Prompted by a live performance of Webern's Op. 6 in Moscow, in 1965, brother and sister Yuri Kholopov and Valentina Kholopova began to analyze the music of Webern; from 1965 to 1970 they wrote two books thereon. Working from scores and a few writings by Europeans (i.e., Stockhausen, Pousseur, Metzger, Kolneder, and Karkoschka), Valentina Kholopova devised a system of pc set analysis, which Yuri later named "hemitonicism." She first presented her findings to the Soviet "Union of Composers" in the early 1970s, and then published a follow-up article in 1973. In the present essay, the author explicates this important development in Russian music theory. In hemitonicism, octave, enharmonic, transpositional, and inversional equivalence are all operative. There are two types of hemitonicism: fields (the continuous filling in, by semitone, of some portion of the chromatic scale), and groups (five three-note and five four-note archetypal pc sets that feature at least one semitone-thus, there are ten total archetypal sets in the hemitonic system). By looking at some of the Kholopovs' analyses, and providing some new analyses, the author shows that their system bears many resemblances to American pc set analysis, while also having many interesting and significant differences. In an appendix, the author provides a complete translation into English of the chapter on "hemitonicism," from Valentina Kholopova's and Yuri Kholopov's Russian-language book, The Music of Webern (1999). [ABSTRACT FROM AUTHOR]

Recent and long-standing debates about the role of octatonicism in works by Stravinsky and other late-chromatic and early-modernist composers have taken place with little mention of how octatonicsim is viewed in Russia--the country of Stravinsky's birth and formative years as a composer. In this article, the author seeks to put music that is often considered octatonic in North America into a Russian framework. He does this by examining the work of three Russian music theorists: Boleslav Yavorsky, Sergei Protopopov, and Yuri Kholopov. The author seeks not to invalidate American views on octatonicism but, rather, to enrich the current discussion with Russian perspectives. [ABSTRACT FROM AUTHOR]