The Composer as Seer, but not Prophet

Tempo ◽  
1994 ◽  
pp. 13-18
Author(s):  
Claire Polin
Keyword(s):  
Similar Nature ◽  
Alfred Schnittke ◽  
Russian Composers ◽  
Musical Sounds

Have composers developed a new role in our time? Are creative musicians today, by the gifts given to them, foretelling Armageddon, the musical Nostrodamuses of our day? Does Steve Reich's recent opera The Cave, despite its avowed peaceful message, actually foretell the Hebron massacre of last February? Are the sombre works of the Russian composers Alfred Schnittke and Sofia Gubaidulina predicting events of a similar nature, which are just waiting to be interpreted from the musical sounds to meaningful dialogue?

The Rite of Beauty: an introduction to the music of Leonid Desyatnikov

Tempo ◽  
2002 ◽  
pp. 20-24 ◽  
Author(s):  
Olga Manulkina
Keyword(s):  
Female Voice ◽  
String Orchestra ◽  
The West ◽  
Baltic Countries ◽  
Original Works ◽  
Alfred Schnittke ◽  
Russian Composers ◽  
The Baltic ◽  
Rare Instance

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.

scholarly journals The birth of contemporary Russia out of the spirit of Russian music

Muzikologija ◽  
2006 ◽  
pp. 63-76
Author(s):  
Ricard Taraskin
Keyword(s):  
Cold War ◽  
Long Range ◽  
Russian Revolution ◽  
Russian History ◽  
Xxth Century ◽  
Russian Music ◽  
Edison Denisov ◽  
Alfred Schnittke ◽  
Russian Composers ◽  
The Cold War

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.

Rimsky-Korsakov and His World

2018 ◽  
Keyword(s):  
Great Influence ◽  
Igor Stravinsky ◽  
The West ◽  
Russian Culture ◽  
Center Stage ◽  
Russian Composers ◽  
General Aspects

During his lifetime, Nikolai Rimsky-Korsakov (1844–1908) was a composer whose work had great influence not only in his native Russia but also internationally. While he remains well-known in Russia—where many of his fifteen operas and various orchestral pieces are still in the standard repertoire—very little of his work is performed in the West today beyond Scheherezade and arrangements of The Flight of the Bumblebee. In Western writings, he appears mainly in the context of the Mighty Handful, a group of five Russian composers to which he belonged at the outset of his career. This book finally gives the composer center stage and due attention. In this book, Rimsky-Korsakov's major operas, The Snow Maiden, Mozart and Salieri, and The Golden Cockerel, receive multifaceted exploration and are carefully contextualized within the wider Russian culture of the era. The discussion of these operas is accompanied and enriched by the composer's letters to Nadezhda Zabela-Vrubel, the distinguished soprano for whom he wrote several leading roles. Other chapters look at more general aspects of Rimsky-Korsakov's work and examine his far-reaching legacy as a professor of composition and orchestration, including his impact on his most famous pupil Igor Stravinsky.

scholarly journals Judgement of valence of musical sounds by hand and by heart, a machine learning paradigm for reading the heart

Heliyon ◽  
2021 ◽  
pp. e07565
Author(s):  
Ennio Idrobo-Ávila ◽  
Humberto Loaiza-Correa ◽  
Flavio Muñoz-Bolaños ◽  
Leon van Noorden ◽  
Rubiel Vargas-Cañas
Keyword(s):  
Machine Learning ◽  
Learning Paradigm ◽  
Musical Sounds

Scientific musical sounds

2009 ◽  
Vol 2009 (57) ◽  
pp. viii-ix
Author(s):  
Paula Hammond
Keyword(s):  
Musical Sounds

Syed Ahmad and His Two Books Called ‘Asar-al-Sanadid’

2010 ◽  
Vol 45 (3) ◽  
pp. 669-708 ◽  
Author(s):  
C. M. NAIM
Keyword(s):  
Social Reformer ◽  
Similar Nature ◽  
The Public ◽  
History Of

AbstractThe earliest writings of Sir Syed Ahmad Khan (1817–1898), the famous Muslim social reformer and educationist, were in the field of History, including two books on the monuments and history of Delhi that bear the same title, Asar-al-Sanadid. This paper compares the first book, published in 1847, with the second, published in 1854, to discover the author's ambitions for each. How do the two books differ from some of the earlier books of relatively similar nature in Persian and Urdu? How radically different are the two books from each other, and why? How and why were they written, and what particular audiences could the author have had in mind in each instance? How were the two books actually received by the public? And, finally, what changes do the two books reflect in the author's thinking? These are the chief questions that this paper seeks to explore.

On the Review of "New Images of Musical Sounds" ("CMJ" 10[1])

1986 ◽  
Vol 10 (4) ◽  
pp. 9
Author(s):  
Robert Cogan ◽  
John Strawn
Keyword(s):  
Musical Sounds

THE RAMIFICATION GROUPS AND DIFFERENT OF A COMPOSITUM OF ARTIN–SCHREIER EXTENSIONS

2010 ◽  
Vol 06 (07) ◽  
pp. 1541-1564 ◽  
Author(s):  
QINGQUAN WU ◽  
RENATE SCHEIDLER
Keyword(s):  
Class Number ◽  
Function Field ◽  
Positive Characteristic ◽  
Field Extension ◽  
Constant Field ◽  
Divisor Class ◽  
Characteristic P ◽  
Similar Nature ◽  
Field Of Positive Characteristic ◽  
The Ideal

Let K be a function field over a perfect constant field of positive characteristic p, and L the compositum of n (degree p) Artin–Schreier extensions of K. Then much of the behavior of the degree pn extension L/K is determined by the behavior of the degree p intermediate extensions M/K. For example, we prove that a place of K totally ramifies/is inert/splits completely in L if and only if it totally ramifies/is inert/splits completely in every M. Examples are provided to show that all possible decompositions are in fact possible; in particular, a place can be inert in a non-cyclic Galois function field extension, which is impossible in the case of a number field. Moreover, we give an explicit closed form description of all the different exponents in L/K in terms of those in all the M/K. Results of a similar nature are given for the genus, the regulator, the ideal class number and the divisor class number. In addition, for the case n = 2, we provide an explicit description of the ramification group filtration of L/K.

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