Study of the Theatrical Features in the Opera Dmitri Shostakovich"s The Nose: Focusing on the Influence of Vsevolod Meyerhold

2020 ◽  
Vol 35 (4) ◽  
pp. 131-152
Author(s):  
Hye Eun Uh
Keyword(s):  
Dmitri Shostakovich

scholarly journals Computational Fugue Analysis

2015 ◽  
Vol 39 (2) ◽  
pp. 77-96 ◽  
Author(s):  
Mathieu Giraud ◽  
Richard Groult ◽  
Emmanuel Leguy ◽  
Florence Levé
Keyword(s):  
Complete System ◽  
Ground Truth ◽  
Music Analysis ◽  
Automated Analysis ◽  
Western Music ◽  
Dynamic Visualization ◽  
Ground Truth Data ◽  
Dmitri Shostakovich

One of the pinnacles of form in classical Western music, the fugue is often used in the teaching of music analysis and composition. Fugues alternate between instances of a subject and other patterns and modulatory sections, called episodes. Musicological analyses are generally built on these patterns and sections. We have developed several algorithms to perform an automated analysis of a fugue, starting from a score in which all the voices are separated. By focusing on the diatonic similarities between pitch intervals, we detect subjects and countersubjects, as well as partial harmonic sequences inside the episodes. We also implemented tools to detect subject scale degrees, cadences, and pedals, as well as a method for segmenting the fugue into exposition and episodic parts. Our algorithms were tested on a corpus of 36 fugues by J. S. Bach and Dmitri Shostakovich. We provide formalized ground-truth data on this corpus as well as a dynamic visualization of the ground truth and of our computed results. The complete system showed acceptable or good results for about one half of the fugues tested, enabling us to depict their design.

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.

Shostakovich’s ‘Lenin Project’: The ‘Pre-Twelfth’ Symphony

2017 ◽  
Author(s):  
Olga Digonskaya
Keyword(s):  
Musical Work ◽  
Dmitri Shostakovich

Although Dmitri Shostakovich repeatedly spoke at various points during his life of writing a musical work on the life and legacy of Lenin, it never materialised—leading some commentators to suggest that this was merely a ruse adopted by the composer to placate the authorities. The present chapter draws on the author’s extensive archives researches in the Shostakovich Archive to demonstrate that the contrary appears to be the case—and that Shostakovich appears to have made several serious attempts to realise this project, including an abandoned version of the Twelfth Symphony. She also examines the veracity of the colourful memoirs by the Soviet composer Lev Lebedinsky, who claimed that Shostakovich had intended to write a satirical work about the Bolshevik leader.

Dmitri Shostakovich, Pianist (review)

Notes ◽  
2005 ◽  
Vol 61 (3) ◽  
pp. 766-769 ◽  
Author(s):  
Mark Mazullo
Keyword(s):  
Dmitri Shostakovich

scholarly journals Mieczysław Wajnberg a kategoria pogranicza

2020 ◽  
pp. 41-53
Author(s):  
Agnieszka Nowok-Zych
Keyword(s):  
World Music ◽  
Creative Activity ◽  
Hybrid Identity ◽  
Dmitri Shostakovich ◽  
Music Literature ◽  
Main Ideas

Mieczysław Wajnberg and the Category of Borderland Polish musicologist and author Danuta Gwizdalanka, titled her publication Mieczysław Wajnberg: Composer from Three Worlds (Poznań, 2013). Wajnberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in USSR. Without any doubt, Wajnberg can be named “the composer from the borderland” due to his “hybrid identity”, which was one of the most important reasons preventing appreciation of Wajnberg’s creative activity both during life and after death. The main ideas of the paper are focused on the “category of borderland” and its representation in Wajnberg’s biography and output. According to the typology proposed by Krzysztof Zajas, Wajnberg’s live and works can be considered in the frame of following types of borderland: interdisciplinary, spatial, psychological, existential, sociological and mythological. Through the prism of “borderland’s category”, Wajnberg’s creative activity shows itself as a very individual and invaluable testimony of his times (far away from eclectic and epigonic in relation to music of Dmitri Shostakovich), unique on the scale of world music literature.

scholarly journals Mieczysław Weinberg and the Category of Borderland

2020 ◽  
pp. 39-50
Author(s):  
Agnieszka Nowok-Zych
Keyword(s):  
Creative Work ◽  
Hybrid Identity ◽  
Dmitri Shostakovich ◽  
Music Literature ◽  
Main Ideas

Polish musicologist and author Danuta Gwizdalanka titled her publication Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Weinberg: Composer from Three Worlds] (Poznań, 2013). Weinberg (1919–1996) was a Polish composer with Jewish roots who spent most of his life in the USSR. Without any doubt, he can be called ‘a composer from the borderland’ due to his ‘hybrid identity’, which was one of the most important reasons that affected the appreciation of Weinberg’s output both during his lifetime and after death. The main ideas of this paper centre on the category of ‘borderland’ and its representations in Weinberg’s biography and oeuvre. According to the typology proposed by Krzysztof Zajas, Weinberg’s life and works can be considered in terms of the following types of borderland: interdisciplinary, spatial, psychological, existential, sociological, and mythological. Through the prism of the category of ‘borderland’, Weinberg’s creative work manifests itself as a highly individual and invaluable testimony of his times, Far from eclectic and epigonic in relation to the music of Dmitri Shostakovich, his oeuvre is unique in the world’s music literature.

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