scholarly journals ECHOES OF D. SCHOSTAKOVICH’S COMPOSITIONAL STYLE IN BORIS DUBOSARSCHI’S STRING QUARTET NO.2

Akademos ◽  
2021 ◽  
Vol 60 (1) ◽  
pp. 137-145
Author(s):  
Alexandru Ureche ◽  
Keyword(s):  
String Quartet ◽  
Compositional Style ◽  
Compositional Techniques ◽  
Full Spectrum ◽  
Decisive Influence

The String Quartet nr. 2 by the foremost Moldovan composer Boris Dubosarschi (1947–2017), as well as his entire string quartet work, was composed under the decisive influence of the work of Dmitri Schostakovich (1906–1975). The string quartet work of B. Dubosarschi, comprized of four titles, is saturated with the usage of the Dmitri Schostakovich’s musical signature – DSCH, which often serves as the thematic core of the entire cycle. The reflection of the compositional style of D. Schostakovich in the string quartet work of B. Dubosarschi, nevertheless, is not confined to the usage of the DSCH monogram, but rather encompasses a broad range of compositional techniques characteristic of the Russian composer’s work such as the use of specific modes and tonal-modal relations, of the characteristic intervals and chords, the usage of leitmotifs and monothematic principles, as well as of the full spectrum of polyphonic techniques. This article describes the compositional tehniques used in the String Quartet nr. 2 by Boris Dubosarschi that echo the compositional style of D. Schostakovich.

scholarly journals Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time

2021 ◽  
pp. 179-187
Author(s):  
Pavlo Minhalov
Keyword(s):  
Piano Music ◽  
Compositional Style ◽  
Compositional Techniques ◽  
Xxth Century ◽  
Avant Garde ◽  
Piano Works ◽  
Intellectual System ◽  
Mature Period ◽  
History Of ◽  
Further Development

The article considers a set of problems related to the study of piano art of the early XXth century and, in particular, the piano work of Mykola Roslavets. It provides the characteristic of the main vectors of piano miniature development, its genre and construction diversity. It emphasizes the composers' creative search in the early XXth century, the desire to embody new, not yet tested compositional techniques. The article notes the influence of traditional and avant-garde trends on the compositional style of that time and their synthesis in a single author's style. It describes five preludes for piano by Mykola Roslavets as one of the most significant achievements of the mature period of the artist's work, which fully reveals the key features of the composer's sense and desire for syntheticity and a new, intellectual, system of sound organization. The five preludes are stated to not have an accidental cycle structure reflecting the influence of many styles and compositional techniques, accumulating the achievements of previous musical epochs and sprouts of the latest, quite important musical trends in piano music. The author notes undoubted influence of Mykola Roslavets' work on the further development of musical art, its relevance and modernity. The proposed analysis should contribute to a more complete understanding of the history of piano music of the first third of the XXth century, elucidate the origins of innovative composers, undeservedly overlooked by musicologists, performers and listeners, and replenish the performing repertoire with piano works by Mykola Roslavets.

scholarly journals STRING QUARTET BY MAURICE RAVEL IN THE CONTEXT OF CREATIVITY AND OUTLOOK OF THE COMPOSER

2020 ◽  
Vol 6 (7(76)) ◽  
pp. 4-6
Author(s):  
V.A. Astahov
Keyword(s):  
Comparative Analysis ◽  
String Quartet ◽  
Analytical Method ◽  
Compositional Style ◽  
Maurice Ravel ◽  
Analysis Method ◽  
Literary Sources ◽  
Similarity And Difference

In the article, the author reveals the specifics of the artistic and aesthetic views of the outstanding French composer based on the study of the musical text of M. Ravel's chamber-instrumental composition and musicological literature. The authors substantiate the idea of the significance of literary sources for the formation of Ravel's compositional style. Using the analytical method, the author identifies the compositional, dramatic, melodic, textural and Lado-harmonic features of the Ravel string Quartet (1903). The use of the comparative analysis method allowed us to determine the similarity and difference of the approaches Of M. Ravel and C. Debussy in the interpretation of the string Quartet genre. Consideration of the string Quartet in the context Of M. Ravel's work allowed the author to clarify certain aspects of the composer's creative method, to Supplement the ideas about his aesthetic and ideological principles.

Shostakovich's Fifth Symphony: A Soviet Artist's Reply…?

Tempo ◽  
1990 ◽  
pp. 11-16
Author(s):  
J. Daniel Huband
Keyword(s):  
Compositional Style ◽  
Soviet Regime ◽  
Compositional Techniques ◽  
Musical Style ◽  
The Social ◽  
Political Background ◽  
Lady Macbeth ◽  
Salient Features ◽  
Musical Response

The attempt to relate a nonmusical event to a musical phenomenon creates problems for the musicologist. Compelled to search beyond the mere notes on the printed page, one may try to gain more penetrating insights into a particular work by scrutinizing historical circumstances concurrent with the genesis of the music. In the case of Dmitri Shostakovich's Fifth Symphony, the social and political background to this piece has been greatly emphasized. Yet could the efforts to relate the composer's compositional style to his troubles with the Soviet regime obscure musical issues? The Fifth Symphony, frequently viewed by many music historians as an apologetic musical response to the Pravda attack on the opera Lady Macbeth of the Mtsensk District, does not present as drastic a change in musical style as is commonly believed. An analysis of the four earlier symphonies reveals that they function importantly in the composer's evolution as a symphonist; Shostakovich refines several compositional techniques employed in these works and incorporates them in the Fifth Symphony, his first fully mature piece. The most salient features of the composer's early works that most clearly relate to his development as a symphonist shall be discussed in this essay. This process aims to reassess the hypothesis which suggests Shostakovich suddenly mended his ways in light of official criticism.

Looking Beyond Facile Understandings of ‘Literalness’ in Music–Dance Collaborations: Mark Morris's All Fours

2012 ◽  
Vol 30 (2) ◽  
pp. 126-146
Author(s):  
Hamish J. Robb
Keyword(s):  
String Quartet ◽  
The Other ◽  
Compositional Techniques ◽  
Dance Music ◽  
Missing Link ◽  
Opposing View ◽  
The One

Notions of ‘visualisation’ or ‘literalness’ in discussions of dance-music collaborations mistakenly imply that dance is able to map completely onto music, and that such dancing says nothing new. Given the complexities involved in meaning formation through gesture, there is an endless number of ways to sympathetically choreograph the same musical phrase, just as there are numerous ways to interpret a single physical gesture. Through an analysis of Mark Morris's All Fours, a choreography set to Bartók's Fourth String Quartet, I offer an opposing view to those detractors of Morris who claim that his work is ‘overly literal’. I argue that Morris's sensitive choreography provides us with the missing link between the characters and emotions projected through Bartók's music on the one hand, and the very precise and less audible compositional techniques on the other. Furthermore, I demonstrate how Morris's carefully planned choreographic choices, repetitive mappings, and gestural tropes (the juxtaposition of two seemingly contradictory gestures) provide the means for highly imaginative and complex narratives, one of which I offer here. Thus, I illustrate how dance gestures that may initially seem to simply ‘mimic’ the music actually perform larger roles in the formation of networks of meaning.

scholarly journals Middleground Structure in the Cadenza to Boulez’s Éclat

2019 ◽  
Vol 25 (1) ◽  
Author(s):  
C. Catherine Losada
Keyword(s):  
Compositional Style ◽  
Compositional Techniques ◽  
New Perspective

Through a transformational analysis of Boulez’s Éclat, this article extends previous understanding of Boulez’s compositional techniques by addressing issues of middleground structure and perception. Presenting a new perspective on this pivotal work, it also sheds light on the development of Boulez’s compositional style.

scholarly journals Strange yet Familiar Sounds in Zosha Di Castri’s String Quartet No. 1

2018 ◽  
Vol 28 (2) ◽  
pp. 83-98
Author(s):  
Landon Morrison
Keyword(s):  
Literary Criticism ◽  
Detailed Analysis ◽  
String Quartet ◽  
Theoretical Basis ◽  
Compact Form ◽  
Compositional Techniques ◽  
Perceptual Awareness ◽  
Musical Style ◽  
Formal Syntax ◽  
Aesthetic Intervention

This paper presents a detailed analysis of Zosha Di Castri’s String Quartet No. 1 (2016), situating the work in relation to the composer’s still-nascent oeuvre and showing how it contains a diverse mix of stylistic impulses within its relatively compact form. The concept of defamiliarization, borrowed from literary criticism, provides a useful theoretical basis for understanding the work. By presenting familiar musical figures within strange new contexts, Di Castri effectively bypasses habitual modes of reception and encourages the listener to engage more actively with the work’s multi-coded discourse. This revivification of perceptual awareness is accomplished using a number of compositional techniques, including the juxtaposition or superimposition of contrasting materials, the transformation of motives, and the distortion of formal syntax. Taken together, these defamiliarizing devices mount an aesthetic intervention that playfully subverts compositional norms, allowing Di Castri to take a decisive step forward in the development of her own musical style.

Observed and Theoretical Spectra in the 10–100Å Interval

1988 ◽  
Vol 102 ◽  
pp. 259-261
Author(s):  
W.A. Brown ◽  
M.E. Bruner ◽  
L.W. Acton
Keyword(s):  
Sounding Rocket ◽  
Full Spectrum ◽  
X Ray

AbstractThe soft x-ray spectra recorded in two sounding rocket flights in 1982 and 1985 are compared with with predicted spectra. The poster presents the processed densitometer trace of the full spectrum together with the new spectrum from the 1985 experiment. This note compares the intensities of the lines with predictions.

After the Rhapsody

2014 ◽  
Vol 31 (1) ◽  
pp. 91-138 ◽  
Author(s):  
Susan Neimoyer
Keyword(s):  
Compositional Style ◽  
Library Of Congress ◽  
Popular Songs ◽  
Compositional Technique ◽  
Stage Music ◽  
Rhapsody In Blue

1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowledged in passing by Gershwin scholars. “The Man I Love,” however, is only one of nine short pieces in the notebook and is the only entry written in what is now defined as Gershwin’s compositional style. This article briefly addresses the entire contents of this “March–April 1924 notebook,” exploring the possibilities of what Gershwin’s purposes in writing these undeveloped works might have been. Were they unused stage music, ideas for the set of piano preludes he was writing off and on during this era, or were they exercises focused on correcting weaknesses in compositional technique uncovered while writing the Rhapsody in Blue? Whatever their purpose, the pieces in this notebook provide clues as to what Gershwin’s creative priorities may have been, as well as further insights into how Gershwin honed his musical craft.

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