scholarly journals The Musical Oeuvres of Aram Khachaturian

ICONI ◽  
2020 ◽  
pp. 122-136
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Russian Art ◽  
General Characterization ◽  
Dmitri Shostakovich ◽  
Musical Compositions ◽  
Russian Composers ◽  
Individual Style

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.

scholarly journals The Musical Oeuvres of Georgy Sviridov

ICONI ◽  
2020 ◽  
pp. 153-170
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Russian Art ◽  
Dmitri Shostakovich ◽  
1960S And 1970S ◽  
The 1960S ◽  
Russian Composers ◽  
Individual Style

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.

scholarly journals The Musical Oeuvres of Rodion Shchedrin

ICONI ◽  
2021 ◽  
pp. 148-159
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Present Situation ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Dmitri Shostakovich ◽  
Musical Compositions ◽  
Maximal Tension ◽  
Russian Composers

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.

scholarly journals The Musical Oeuvres of Alfred G. Schnittke

ICONI ◽  
2021 ◽  
pp. 112-130
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Avant Garde ◽  
Dmitri Shostakovich ◽  
Late Style ◽  
Musical Compositions ◽  
Initial Stage ◽  
Middle Period ◽  
Russian Composers

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.

scholarly journals The Musical Legacy of Sergei Rachmaninoff

ICONI ◽  
2019 ◽  
pp. 198-210
Author(s):  
Demchenko Alexander I. ◽  
Keyword(s):  
Higher Education ◽  
High Schools ◽  
20Th Century ◽  
Igor Stravinsky ◽  
Faculty Members ◽  
Institutions Of Higher Education ◽  
Sergei Rachmaninoff ◽  
Dmitri Shostakovich ◽  
Russian Music ◽  
Alfred Schnittke

“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.

scholarly journals The Semantics of Revolutionary Imagery

ICONI ◽  
2019 ◽  
pp. 112-115
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Life Experience ◽  
Civic Consciousness ◽  
Dmitri Shostakovich ◽  
High Tension ◽  
The 1950S ◽  
Characteristic Features ◽  
Russian Composers ◽  
Lengthy Process

The formation of revolutionary imagery in the works of 20th century Russian composers turned out to be a lengthy process. Its decisive stage coincides with the 1950s and is primarily connected with the musical legacy of Dmitri Shostakovich. Among the main criteria of revolutionary semantics, the following are highlighted in the article: the direct or indirect connections with the folklore of the Revolution and the Civil War; effi cacy and drama, which presumes the recreation of the high tension of life experience, outlining of confrontations of life; the audacity, virility and sternness of tone, a highlighted civic consciousness of utterance, a martial, assertive spirit. The varieties of the examined complex are viewed according the principles of paired contrasts: the march-like vs. the swirling, the songlike vs. the instrumental, the potential vs. the kinetic. At the same time, it is emphasized that the attribute of the march in all of its possible interpretations, open or concealed, always remains the foundation of revolutionary imagery. The dialectic quality inherent to it always becomes unfolded in conjugacy with such seemingly incompatible pictorial characteristic features as being tuned at an irate mood and the spirit of radiance. Within the system of the examined semantics, they appear as mutually complimentary essences forming an organic whole.

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.

Why Does Rationality Matter?

2017 ◽  
Author(s):  
Ralph Wedgwood
Keyword(s):  
Mental States ◽  
External World ◽  
Dutch Book ◽  
Strong Sense ◽  
General Characterization ◽  
Internal Rationality

Internalism implies that rationality requires nothing more than what in the broadest sense counts as ‘coherence’. The earlier chapters of this book argue that rationality is in a strong sense normative. But why does coherence matter? The interpretation of this question is clarified. An answer to the question would involve a general characterization of rationality that makes it intuitively less puzzling why rationality is in this strong sense normative. Various approaches to this question are explored: a deflationary approach, the appeal to ‘Dutch book’ theorems, the idea that rationality is constitutive of the nature of mental states. It is argued that none of these approaches solves the problem. An adequate solution will have to appeal to some value that depends partly on how things are in the external world—in effect, an external goal—and some normatively significant connection between internal rationality and this external goal.

Practical Steps and Reasons for Action

1997 ◽  
Vol 27 (1) ◽  
pp. 17-45 ◽  
Author(s):  
Philip Clark
Keyword(s):  
Reasons For Action ◽  
Reasons For Belief ◽  
The Real ◽  
General Characterization ◽  
Practical Inference

There is an idea, going back to Aristotle, that reasons for action can be understood on a parallel with reasons for belief. Not surprisingly, the idea has almost always led to some form of inferentialism about reasons for action. In this paper I argue that reasons for action can be understood on a parallel with reasons for belief, but that this requires abandoning inferentialism about reasons for action. This result will be thought paradoxical. It is generally assumed that if there is to be a useful parallel, there must be some such thing as a practical inference. As we shall see, that assumption tends to block the fruitful exploration of the real parallel. On the view I shall defend, the practical analogue of an ordinary inference is not an inference, but something I shall call a practical step. Nevertheless, the practical step will do, for a theory of reasons for action, what ordinary inference does for an inferentialist theory of reasons for belief. The result is a general characterization of reasons, practical and theoretical, in terms of the correctness conditions of the relevant sorts of step.

ASSOCIATIVITY AS A FORMATION SOURCE OF A MUSICAL COMPOSITION EDITING FORM OF THE SECOND HALF OF THE 20TH CENTURY

2021 ◽  
pp. 22-31
Author(s):  
ZARINA DENISOVA
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Musical Composition ◽  
Musical Work ◽  
The Status ◽  
Associative Connection ◽  
New Type ◽  
General Scientific ◽  
A Chain ◽  
Russian Composers

The object of the research in this article is associativity as a characteristic feature of 20th century art. The nature, the role of the association in the work of artistic thinking, the principles of its functioning are considered. The subject of the research is the editing form of a musical work of the second half of the 20th century. Particular attention in the article is paid to the consideration of such an important factor influencing the formation of a stable associative connection as repetition. At the same time, it is specified that repetition is caused by a specific life situation. This repetition forms a chain of associations that create an integral content space of a musical work. The work uses general scientific research methods in the framework of comparative and logical analysis, including generalizations and comparisons. The work is based on the analytical method and has a systemic interdisciplinary nature as well. In revealing the specifics of the installation form, the author of the article turns to the theory of compositional ellipsis V. Bobrovsky. The main conclusion of the study is that the importance of associativity in the work of Russian composers in the second half of the 20th century is increasing, reaching the status of a characteristic feature of artistic thinking. The process of expanding associativity manifested itself, in particular, in the emergence in musical creativity of a new type of form creation - editing. The analysis revealed the features inherent in the montage type of construction of a work of art. This is the dismemberment of thematic material, the syntactic isolation of thematic structures, the organization of the form «from the end», the internal unity of the mosaic structure, and others. The novelty of this research lies in the fact that for the first time associativity is considered as a source of montage shaping, in the choice of research methodology, as well as in the identification of special features of the composition, manifested in the conditions of montage drama.

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