scholarly journals Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

2021 ◽  
pp. 11-22
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
20Th Century ◽  
Significant Influence ◽  
Social Processes ◽  
Close Connection ◽  
Research Subject ◽  
Late 20Th Century ◽  
Special Contribution ◽  
The Times ◽  
The 1960S

The research subject is the symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article considers his compositions of the 1960s - 1980s: the first six symphonies with numbers and some symphonies with titles. The author studies such aspects of the topic as Tishchenko’s innovatory role in the renovation of Russian symphonic style of the 1960s, the interrelation of music and poetry in Tishchenko’s large orchestra compositions, and the significant influence of literary concepts on the development of his symphonic style. Special attention is given to the issue of Tishchenko taking over from the large Russian symphonic tradition. The main contribution of the research is the idea that Tishchenko is among the few of his generation who held true to the genre of large “pure” symphony, and took over from the symphonic line of his genius teacher D. Shostakovich. The author’s special contribution is the analysis of all symphonic works by B. Tishchenko. Such a detailed study is the first in Russia. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonic style and his epoch, the controversial cultural and social processes suffered by his generation.

scholarly journals Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

2021 ◽  
pp. 11-22
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
20Th Century ◽  
Main Idea ◽  
Social Processes ◽  
Research Subject ◽  
Late 20Th Century ◽  
Detailed Consideration ◽  
Russian Music ◽  
The Sixties ◽  
History Of ◽  
The Times

The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.  

scholarly journals The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s

2021 ◽  
pp. 13-21
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Significant Influence ◽  
Creative Thinking ◽  
Research Subject ◽  
Late 20Th Century ◽  
Special Contribution ◽  
The 1960S ◽  
Artistic Image ◽  
The Impact ◽  
First Time ◽  
Dramatic Music

The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.   

Oliver Goldsmith

2016 ◽  
Author(s):  
Michael Griffin
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Good Deal ◽  
Late 20Th Century ◽  
Oliver Goldsmith ◽  
Relative Lack ◽  
Critical Scholarship ◽  
Tremendous Amount ◽  
Critical Heritage ◽  
The 1960S

The life and work of the Irish poet, playwright, essayist, historian, and novelist Oliver Goldsmith (b. 1728–d. 1774) had not received a tremendous amount of attention since the 1960s, a decade that saw a substantial burst of editorial and critical work, and, in particular, the publication of Arthur Friedman’s five-volume edition of the Collected Works (Goldsmith 1966, cited under Editions) and Roger Lonsdale’s edition of The Poems of Goldsmith, Gray and Collins (Goldsmith, et al. 1969, cited under Editions). A good deal of the critical scholarship that has emerged since then has been in dialogue with, or in response to, those editions and to two-book length works of criticism by Ricardo Quintana (Quintana 1967, cited under General Collections and Studies) and Robert H. Hopkins (Hopkins 1969, cited under General Collections and Studies), which argued for a greater appreciation of the ironic registers of Goldsmith’s work. Indeed, much Goldsmith criticism has focused on the question of whether he should be understood as a sentimentalist or as a satirist, since the oeuvre as a whole exists along a seam between the satirical tenor of his Augustan predecessors and the emerging sensibility of his literary milieu and an expanding middle-class audience. As such, Goldsmith’s writings are in many ways highly representative of his mid-18th-century contexts. The relative lack of sustained scholarly and critical work on Goldsmith since the 1960s is also partly attributable to his work being in some senses too various to accommodate in single thematic or generic studies: he moved across the modes of 18th-century writing with considerable ease and success. The eclectic nature of his oeuvre, and the variety of tones and registers he used in writing across the genres, has resulted in his being characterized in various, often-inconsistent ways. That said, clusters of essays and articles have appeared since the late 20th century that have illustrated the richness and instructive ambiguities of his writing and thinking. Also, his Irishness has been intermittently, and with varying degrees of insight or success, studied throughout the critical heritage as a contributing factor in his social and political worldview. In this article, items that Friedman acknowledged and incorporated into the editorial apparatus of his 1966 edition—including earlier scholarship on the history and sources of Goldsmith’s Greek, Roman, and English histories, the prefaces to which feature in Friedman’s work—are largely omitted. The emphasis here is primarily on the biographical tradition, on criticism and scholarship published after 1966, and within that period on the substantial bodies of criticism surrounding the major poetry and Goldsmith’s one novel.

scholarly journals Requiem for Akhmatova

2021 ◽  
pp. 1-13
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Research Subject ◽  
Quality Performance ◽  
Late 20Th Century ◽  
Modern Language ◽  
Russian Music ◽  
Symphonic Orchestra ◽  
History Of ◽  
The 1960S ◽  
The Church

The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music.   

Art in the Information Age: Technology and Conceptual Art

Leonardo ◽  
2002 ◽  
Vol 35 (4) ◽  
pp. 433-438 ◽  
Author(s):  
Edward A. Shanken
Keyword(s):  
20Th Century ◽  
Art Criticism ◽  
Common Ground ◽  
Conceptual Art ◽  
Information Age ◽  
Late 20Th Century ◽  
Cultural Transformations ◽  
Art And Technology ◽  
The 1960S ◽  
20Th Century Art

Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share important similarities, and that this common ground offers useful insights into late-20th-century art.

“Band Wagon and Gravy Train”: uses and abuses along the Silk Road

Afghanistan ◽  
2019 ◽  
Vol 2 (2) ◽  
pp. 171-194
Author(s):  
Warwick Ball
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Silk Road ◽  
Late 20Th Century ◽  
Ancient Trade ◽  
International Image ◽  
Academic Discussion ◽  
The Silk Road

The Silk Road as an image is a relatively new one for Afghanistan. It appeals to both the pre-Islamic and the perceived Islamic past, thus offering an Islamic balance to previous identities linked to Bamiyan or to the Kushans. It also appeals to a broader and more international image, one that has been taken up by many other countries. This paper traces the rise of the image of the Silk Road and its use as a metaphor for ancient trade to encompass all contacts throughout Eurasia, prehistoric, ancient and modern, but also how the image has been adopted and expanded into many other areas: politics, tourism and academia. It is argued here that the origin and popularity of the term lies in late 20th century (and increasingly 21st century) politics rather than any reality of ancient trade. Its consequent validity as a metaphor in academic discussion is questioned

"Nécessité d'une orientation esthétique": Techniques of Development in the Music of Boulez

2019 ◽  
Vol 6 (1) ◽  
pp. 87-129
Author(s):  
Catherine Losada
Keyword(s):  
Significant Influence ◽  
Major Change ◽  
Compositional Process ◽  
Base Materials ◽  
Compositional Approach ◽  
The Creation ◽  
Open Work ◽  
Additional Level ◽  
New Perspective ◽  
The 1960S

The latter part of the 1950s saw a major change in Boulez's compositional approach: Instead of creating extensive pre-compositional sketches, he increasingly reused previously composed materials as the basis for new works. The shifting aesthetics that characterized this period had a significant influence on Boulez. His works from the late 1950s explore the ideas of mobility embedded in the open work. Balancing the concept of mobility with the ideals of control that form the basis of his compositional ideology led to an economy of means and an associated emphasis on the concept of development in his compositional process. Both facilitated the creation of new works from a more limited array of base materials.<br/> Tracing the concept of development in a sample of Boulez's sketches and works from the late 1950s through the 1960s, this essay presents a preliminary typology of recurring pitch and temporal developmental techniques. By taking a bird's-eye view, I add an additional level of interpretation, emphasizing their formal function, association with aspects of middleground structure and studying their implications in terms of perception. In this way, I present a new perspective on the association between these techniques and the practice of derivation from a limited amount of material that characterizes these works.

scholarly journals Run to the hills: Forest growth responsiveness to drought increased at higher elevation during the late 20th century

2021 ◽  
Vol 772 ◽  
pp. 145286
Author(s):  
Marín Pompa-García ◽  
Marcos González-Cásares ◽  
Antonio Gazol ◽  
J. Julio Camarero
Keyword(s):  
20Th Century ◽  
Forest Growth ◽  
Late 20Th Century
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