Musical analyses of works by thirteen Russian composers show how approaches to tonality, modernism, and serialism forge forward-looking, independent paths from their western counterparts. Drawing from composers active throughout the twentieth century, this volume for the first time identifies large-scale trends in this repertoire.
Musical analyses of works by thirteen Russian composers show how approaches to tonality, modernism, and serialism forge forward-looking, independent paths from their western counterparts. Drawing from composers active throughout the twentieth century, this volume for the first time identifies large-scale trends in this repertoire.
Inessa Bazayev is Paula G. Manship Associate Professor of Music Theory and Theory Area Coordinator at Louisiana State University. Christopher Segall is Associate Professor of Music Theory at the College-Conservatory of Music, University of Cincinnati.
Inhaltsangabe
Table of Contents Contributors Introduction Part I: Tonality Chapter 1 Tonal Pairing in Two of Rachmaninoff's Songs Ellen Bakulina Chapter 2 Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky Scott Murphy Chapter 3 House of Mirrors: Distorted Proportions in Prokofiev's Piano Concerto No. 1 Rebecca Perry Chapter 4 A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works Patrick McCreless Chapter 5 Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian's Requiem Knar Abrahamyan Part II: Modernism Chapter 6 Fifths' Paths through Nikolai Roslavets's Three Poems of Zinaida Gippius Inessa Bazayev Chapter 7 Alexander Mosolov's Piano Sonata No. 1 and Its Synthetic Modernism Daniil Zavlunov Chapter 8 The Rebirth of Melody in Lourié's Post-Neoclassical Concerto da camera Klára Móricz Chapter 9 The Features of Alexander Tcherepnin's Nine-Step Scale and Its Use in the First Movement of His First Symphony Joshua Bedford Chapter 10 Timbre and Vibration in Galina Ustvolskaya's Composition No. 1, "Dona nobis pacem" Maria Cizmic Part III: Serialism Chapter 11 Edison Denisov and Multiple-Row Serialism Zachary Cairns Chapter 12 Historical and Stylistic Reconciliation in Sofia Gubaidulina's Reflections on the Theme BACH Joseph Straus Chapter 13 Monogram, Theme, and Large-Scale Form in Alfred Schnittke's Viola Concerto Christopher Segall Index
Table of Contents Contributors Introduction Part I: Tonality Chapter 1 Tonal Pairing in Two of Rachmaninoff's Songs Ellen Bakulina Chapter 2 Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky Scott Murphy Chapter 3 House of Mirrors: Distorted Proportions in Prokofiev's Piano Concerto No. 1 Rebecca Perry Chapter 4 A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works Patrick McCreless Chapter 5 Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian's Requiem Knar Abrahamyan Part II: Modernism Chapter 6 Fifths' Paths through Nikolai Roslavets's Three Poems of Zinaida Gippius Inessa Bazayev Chapter 7 Alexander Mosolov's Piano Sonata No. 1 and Its Synthetic Modernism Daniil Zavlunov Chapter 8 The Rebirth of Melody in Lourié's Post-Neoclassical Concerto da camera Klára Móricz Chapter 9 The Features of Alexander Tcherepnin's Nine-Step Scale and Its Use in the First Movement of His First Symphony Joshua Bedford Chapter 10 Timbre and Vibration in Galina Ustvolskaya's Composition No. 1, "Dona nobis pacem" Maria Cizmic Part III: Serialism Chapter 11 Edison Denisov and Multiple-Row Serialism Zachary Cairns Chapter 12 Historical and Stylistic Reconciliation in Sofia Gubaidulina's Reflections on the Theme BACH Joseph Straus Chapter 13 Monogram, Theme, and Large-Scale Form in Alfred Schnittke's Viola Concerto Christopher Segall Index
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