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rimsky-korsakov

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Journal Articles
19th-Century Music. 2017; 403223–238 doi: https://doi.org/10.1525/ncm.2017.40.3.223
Published: 01 March 2017
...Philip Ross Bullock Observing the use of landscape as a category of reception, whether in nineteenth-century debates about artistic realism or Soviet-era criticism, this article examines the uses of landscape in several songs by Rimsky-Korsakov and replaces a persistent emphasis in criticism on...
Journal Articles
19th-Century Music. 2005; 292097–120 doi: https://doi.org/10.1525/ncm.2005.29.2.097
Published: 01 November 2005
...Sylvia Kahan The reification and theorization of the octatonic scale, arguably one of the principal organizational devices of twentieth-century music, have been long in coming. Rimsky-Korsakov was the first to describe the scale, in an 1867 letter, discussing its use as a Leitmotiv in the symphonic...
Journal Articles
19th-Century Music. 2011; 352115–131 doi: https://doi.org/10.1525/ncm.2011.35.2.115
Published: 01 November 2011
... considered universal, such as love or death, are usually exempt from Russian coloring. Examples from the late operas of Rimsky-Korsakov demonstrate his conscious and sometimes obsessive efforts in creating appropriate colors, Russian and otherwise. This approach allows us to set aside preconceived notions of...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... (e.g., Rimsky-Korsakov instead of Rimskii-Korsakov). For the sake of bibliographic clarity, the Modified LC system is strictly applied in citations. Since Russian music critics often used pseudonyms, the authors last names are given in brackets in cases of ambiguity (e.g., [Cui Since much of their...
Journal Articles
19th-Century Music. 2017; 403307 doi: https://doi.org/10.1525/ncm.2017.40.3.307
Published: 01 March 2017
... 307 INDEX INDEX FOR VOLUME 40 (2016 17) Bullock, Philip Ross Lyric and Landscape in Rimsky-Korsakov s Songs 223 Burnham, Scott The Stillness of Time, the Fullness of Space: Four Settings of Goethe s Wandrers Nachtlied 189 Campo-Bowen, Christopher Bohemian Rhapsodist: Antonín Dvor ák s Písen bohaty...
Journal Articles
19th-Century Music. 2017; 403185–188 doi: https://doi.org/10.1525/ncm.2017.40.3.185
Published: 01 March 2017
... suggests that this music engages with the theme of subjectivity most deeply by conscripting listeners into the task of subject-formation. Philip Ross Bullock explores issues of land- scape and space by taking Rimsky-Korsakov s song output as a means to illuminate their shift from pictorial realism to...
Journal Articles
19th-Century Music. 2017; 403301–305 doi: https://doi.org/10.1525/ncm.2017.40.3.301
Published: 01 March 2017
.... What happens to this relationship across the nineteenth century? Let me sketch just two trends. First, there is a growing emphasis on the idiosyncrasy rather than the universality of the feelings expressed in song. The increasing importance of landscape, as in the Rimsky- Korsakov songs discussed by...
Journal Articles
19th-Century Music. 2011; 352132–143 doi: https://doi.org/10.1525/ncm.2011.35.2.132
Published: 01 November 2011
... in a study of leitmotivs in and out of opera. Or a study of one-opera composers (where he might fare pretty well against Schumann and Franck, but then there s Beethoven). Or operas published by 134 19TH CENTURY MUSIC Belyayev in which case he would be in coun- terpoint with Rimsky-Korsakov and...
Journal Articles
19th-Century Music. 2011; 35293–114 doi: https://doi.org/10.1525/ncm.2011.35.2.93
Published: 01 November 2011
... religious, moral, and patriotic values. Most choirs sang for local church services. As a result, repertoire for choirs focused on religious chant, psalms, and simpler arrangements of such works by composers in- cluding Rimsky-Korsakov, while the better choirs also performed more complex composed sacred...
Journal Articles
19th-Century Music. 2011; 352144–161 doi: https://doi.org/10.1525/ncm.2011.35.2.144
Published: 01 November 2011
... express himself in any way but that which was natural to him. He was of course denounced as a bad patriot, and in Russia it is still the fashion to compare him unfavourably with composers of the calibre of Borodin and Rimsky Korsakov. Outside the Russian frontiers he is of course rated at his true value...
Journal Articles
19th-Century Music. 2010; 3413–38 doi: https://doi.org/10.1525/ncm.2010.34.1.003
Published: 01 July 2010
Journal Articles
19th-Century Music. 2008; 313179–192 doi: https://doi.org/10.1525/ncm.2008.31.3.179
Published: 01 March 2008
... (possessing un- certainty of duration and/or harmonic direction); harp arpeggios and glissandi (Rimsky-Korsakov changes the connotation of the harp with a mythical past to one of oriental exoticism); double reeds (oboe and especially cor anglais); percussion (especially tam- bourine, triangle, cymbals and...
Journal Articles
19th-Century Music. 2008; 32194–128 doi: https://doi.org/10.1525/ncm.2008.32.1.094
Published: 01 July 2008
... Russian, Ukrainian, and Polish folk music, certain of the declamatory techniques more readily associated with Aleksandr Dargomyzhsky (1813 69) and Mod- est Mussorgsky (1839 81), a harmonic inven- tiveness later explored more fully by Nikolay Rimsky-Korsakov (1844 1908), and all of the dramatic...
Journal Articles
19th-Century Music. 2004; 28150–76 doi: https://doi.org/10.1525/ncm.2004.28.1.50
Published: 01 July 2004
Journal Articles
19th-Century Music. 2004; 28115–49 doi: https://doi.org/10.1525/ncm.2004.28.1.15
Published: 01 July 2004
... Rimsky-Korsakov, the year of the creation of Sunless (1874) marked the beginning of Mussorgsky s creative decline.15 For César Cui, Mussorgsky s former ally, Sunless was form- lessness carried out to the illogical, to the ab- sence of musical sense. 16 Published reviews of the cycle, which was printed...
Journal Articles
19th-Century Music. 2004; 273230–262 doi: https://doi.org/10.1525/ncm.2004.27.3.230
Published: 01 March 2004
... Musical Language (Paris: Leduc, 1956). 11Others in St. Petersburg called it the Rimsky-Korsakov scale (Korsakovskaya gamma) (Richard Taruskin, Stravinsky and the Russian Traditions [Berkeley and Los Angeles: University of California Press, 1996], p. 122). For more on octatonicism in especially its...
Journal Articles
19th-Century Music. 2003; 263195–234 doi: https://doi.org/10.1525/ncm.2003.26.3.195
Published: 01 March 2003
... orchestral variation, derived in part from Glinka s Kamarinskaia, in which brief melodic phrases are repeated many times with different instrumental coloration; and a harmonic vocabulary, most likely de- rived from Liszt and Rimsky-Korsakov, arising from what is now generally called the octatonic collection...
Journal Articles
19th-Century Music. 1996; 20127–45 doi: https://doi.org/10.2307/746666
Published: 01 July 1996
... the twenty days immediately following "Be Bored." 2Schubert's Die Sch6ne Milllerin and Winterreise are the most obvious parallels, although I would not wish to ar- gue for any direct connection. In a letter to Rimsky- Korsakov (September 1867), Mussorgsky identified his seven favorite songs. Five were...
Journal Articles
Journal Articles
19th-Century Music. 1996; 202190–201 doi: https://doi.org/10.2307/746908
Published: 01 October 1996
... one's own better judgement. This is a view that even the composer's staunchest sup- porters still seem at least tacitly to share, and one becomes used to reading self-righteous carping at Rimsky-Korsakov's editorial excesses offered as pref- ace to justify editorial intrusions just as radical. Richard...