scholarly journals The Musical Legacy of Sergei Rachmaninoff

ICONI ◽  
2019 ◽  
pp. 198-210
Author(s):  
Demchenko Alexander I. ◽  

“The musical legacy of Sergei Rachmaninoff” — this is the fi rst lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.

ICONI ◽  
2021 ◽  
pp. 148-159
Author(s):  
Alexander I. Demchenko ◽  

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.


ICONI ◽  
2021 ◽  
pp. 84-102
Author(s):  
Alexander I. Demchenko ◽  

In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.


ICONI ◽  
2021 ◽  
pp. 112-130
Author(s):  
Alexander I. Demchenko ◽  

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgy Sviridov, and Rodion Shchedrin. This series is being continued with a lecture about the music of Alfred G. Schnittke. The fi rst part of the lecture (“National ‘Fermentations’ and Early Works”) examines the questions of the genesis of the composer’s personality and the initial stage of his artistic formation with a drastic reorientation from a traditional style to avant-garde experiment. The second part (“The Middle Period”) is devoted to Schnittke’s explorations in the direction of contacts with wide audiences, which went along various lines of democratization of his artistic approach. The conclusive part (“The Late Style”) is directed towards the composer’s immense contribution to the formation of the stylistic realities of the Postmodern aesthetics. During the course of the lecture’s exposition fragments of musical compositions are offered with recommended performances of them, in their sum providing a perception of the most substantial sides of Alfred G. Schnittke’s musical output.


ICONI ◽  
2020 ◽  
pp. 122-136
Author(s):  
Alexander I. Demchenko ◽  

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky and Dmitri Shostakovich. This series is continued with a lecture about Aram Khachaturian’s music. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (the trajectory of the artistic path, “The Feast of Music”) examines the foundational principles of the composer’s bright individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the mid-20th century. During the exposition of the lecture fragments of his musical compositions will be offered for analysis, in their sum giving a perspective of the most substantial aspects of Khachaturian’s musical legacy.


ICONI ◽  
2020 ◽  
pp. 153-170
Author(s):  
Alexander I. Demchenko ◽  

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich and Aram Khachaturian. This series is continued with a lecture about the music of Georgy Sviridov. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (The Musical Oeuvres of Sviridov in the Mid-20th Century, The Musical Oeuvres of Sviridov in the 1960s and 1970s, the Late Oeuvres of Sviridov) examines the foundational principles of the composer’s vivid individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the middle and second half of the 20th century. During the exposition of the lecture fragments of his musical compositions are presented for analysis in performances recommended by the author, in their sum, providing a perspective of the most substantial aspects of Sviridov’s musical legacy.


Author(s):  
Ludim Pedroza

The Latin Music Studies (LMS) area at the Texas State University School of Music offers degree-granting programs with concentrations in mariachi and salsa. Such programs are still rare in mainstream US institutions of higher education. LMS founder John Lopez has recently developed a minor in mariachi, which in conjunction with the professional degree in music education provides students with fundamental skills in mariachi ensemble management, pedagogy, performance, and creative musicianship. The history of the minor in mariachi at Texas State University and the prominent presence of mariachi in middle schools and high schools suggest a future wherein the mariachi ensemble in Texas may enter the standard ensemble trio of the choir, band, and orchestra.


2004 ◽  
Vol 1 (5) ◽  
Author(s):  
Debra D. Burke

Many of the disciplines in which faculty in institutions of higher education are trained, such as law, accounting or medicine, are characterized by a code of ethics and by the regulation of those guiding principles by the profession. Universally, however, academia, is neither guided by a single code of ethics, nor self-regulated by such a code. The tenure system, while compatible with progressive counseling, is less compatible with progressive discipline because of its limited exceptions for terminating tenure and few options for otherwise correcting problematic behavior. As state legislators seek to implement a system of performance checks through post-tenure review, faculty as a whole should consider implementing a code of ethics, coupled with a system of self-regulation for compliance. This paper will discuss these issues and propose that since all faculty members, not just faculty who are administrators, are potentially affected by the sub-standard performance of a colleague, the collective body of faculty should establish and maintain a disciplinary board for regulating professionalism in institutions of higher education.


ICONI ◽  
2019 ◽  
pp. 137-148
Author(s):  
Alexander I. Demchenko ◽  

The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher education.


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