Search Results for russian-opera
1-20 of 150 Search Results for
19th-Century Music. 2011; 352115–131 doi: https://doi.org/10.1525/ncm.2011.35.2.115
Published: 01 November 2011
...Marina Frolova-Walker This article is based on the key-note lecture given at the conference “Non-Nationalist” Russian Operas, Leeds, U.K., on 17 November 2010. It engages with the conference's distinction between the “nationalist” and “non-nationalist” and proposes six potential situations for...
19th-Century Music. 1977; 12142–162 doi: https://doi.org/10.2307/746475
Published: 01 November 1977
...Richard Taruskin Copyright 1977 The Regents of the University of California [Footnotes] 1 Donald Jay Grout, A Short History of Opera, second edn. (New York, 1965), p. 454 fn Grout 2 454 A Short History of Opera 1965 Gerald Seaman, History of Russian Music I (New York, 1967...
19th-Century Music. 2004; 28115–49 doi: https://doi.org/10.1525/ncm.2004.28.1.15
Published: 01 July 2004
... referential attachments of symmetrically based chromaticism--typically found in Russian operas of the second half of the nineteenth century--he also, through extremely simple but effective means, synthesized the "intuitive" harmonic and "rational" symmetrical elements of the cycle's pitch organization so that...
19th-Century Music. 1984; 73318–325 doi: https://doi.org/10.2307/746384
Published: 03 April 1984
... History of Russian Music 1967 I. R. Leonard, A History of Russian Music (New York, 1957) Leonard A History of Russian Music 1957 James Bakst, in A History of Russian-Soviet Music (New York, 1966) Bakst A History of Russian-Soviet Music 1966 Russian Comic Opera in the Age of...
19th-Century Music. 2013; 363209–230 doi: https://doi.org/10.1525/ncm.2013.36.3.209
Published: 01 March 2013
...Emily Frey In the opera that bears his name, Evgeny Onegin often seems remarkably inconsequential, a “superfluous man” among Russian society and nearly such in his own tale. Critics from Hermann Laroche to Catherine Clément have lamented not only the triviality of Evgeny's character but the...
19th-Century Music. 2019; 432140 doi: https://doi.org/10.1525/ncm.2019.43.2.140
Published: 01 November 2019
... periods. In his dissertation, publis- hed in German as RANDOM (2018), he investi- gated automatic creation of music in early video games. His current project is on predigital music algorithms of the Russian-American theo- rist Joseph Schillinger. Julia Kursell is professor of musicology at the University...
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
..., covering not only music but also architecture, sculpture, and the visual arts. Serov turned to composition, and his operas Judith (1863) and Rogneda (1865) briefly made him the most popular Russian composer of the time, prior to his untimely death in 1871. 23Daniil Zavlunov, Constructing Glinka, Journal...
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... intradiegetic narrator who has compiled the poem, although his construction as a narrator is limited.34 Mickiewicz published the poem as if it were a recounting of historical events, but a Russian censor realized that a tale about an exiled hero who deliberately leads a hegemonic power to defeat was a thinly...
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
... reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms...
19th-Century Music. 2017; 403223–238 doi: https://doi.org/10.1525/ncm.2017.40.3.223
Published: 01 March 2017
...), 71 95, as well as his Realism and Preached and Practiced: The Russian Opéra Dialogu Musical Quar- terly 56/3 (1970): 431 54. 2Peter Brooks, Realist Vision (New Haven: Yale Univer- sity Press, 2005). 224 19TH CENTURY MUSIC and literature on the other, have generally been treated as parallel trends...
19th-Century Music. 2017; 403306 doi: https://doi.org/10.1525/ncm.2017.40.3.306
Published: 01 March 2017
... California Press s Reprints and Permissions web page, httpwww.ucpress.edu/ journals.php?p=reprints. httpsdoi.org/10.1525/ncm.2017.40.3.306. Contributors l Philip Ross Bullock is Professor of Russian Lit- erature and Music at the University of Oxford, and Fellow and Tutor in Russian at Wadham College, Oxford...
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
... continuity and aes- thetic unity it was deemed to lack.19 10Ibid. 11David Brown, Tchaikovsky: The Final Years, 339. 12Wiley, Tchaikovsky s Ballets, 198. 13Simon Morrison, Russian Opera and the Symbolist Move- ment (Berkeley: University of California Press, 2002), 49. 14Ibid., 48, 49, and Simon Morrison...
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... attainment of victory. He also clearly stated that the hero was a hero of the spirit and an artist, not a martial figure or warrior. The titular adjective borrows a Russian word for hero, bohaty´r, instead of using the more common Czech root word of the same mean- ing, hrdina. For Dvor ák, the less common...
19th-Century Music. 2016; 393223–247 doi: https://doi.org/10.1525/ncm.2016.39.3.223
Published: 01 March 2016
...- ish ballroom and folk-inspired opera dances, but it does not account for the subset of slow expressive pieces. Neither view fully and clearly explains the minor-mode, slow passages. These episodes are most often understood as Chopin s stylizations of the kujawiak, a Polish folk dance from the Kujawy...
19th-Century Music. 2014; 382145–168 doi: https://doi.org/10.1525/ncm.2014.38.2.145
Published: 01 November 2014
...Robert D. Pearson After the failure of Beethoven's opera Fidelio, oder die eheliche Liebe in 1805, a series of reviews criticized the dramatic layout of the opera and Beethoven's musical setting. Much of the critical response to the first version focuses on an incongruity between the opera's first...
19th-Century Music. 2014; 373161–187 doi: https://doi.org/10.1525/ncm.2014.37.3.161
Published: 01 March 2014
... manifestations of political ideology in the writings of Franz Brendel, Richard Wagner, and Theodor Uhlig, all of whom made politics a core component of their music criticism.2 If mentioned at all, Otto appears briefly in broader discussions of the search for a nationalist opera as an author and librettist who...
19th-Century Music. 2013; 372130–158 doi: https://doi.org/10.1525/ncm.2013.37.2.130
Published: 01 November 2013
... Soiréé fantastiques —but sometimes, like von Kempelen's Turk, these automata were illusions themselves. Ravel's fascinations with enchantment and mechanism converge in the presence of these trick machines. In the opera L'Enfant et les sortilèges (1925), Ravel uses techniques known to both magicians and...
19th-Century Music. 2012; 353262 doi: https://doi.org/10.1525/ncm.2012.35.3.262
Published: 01 March 2012
... Chopin s Duets and Mine 182 Frolova-Walker, Marina A Ukrainian Tune in Medieval France: Perceptions of Nationalism and Local Color in Russian Opera 115 Hallmark, Rufus The Literary and Musical Rhetoric of Apostrophe in Winterreise 3 Klein, Michael Chopin Dreams: The Mazurka in C Minor, Op. 30, No. 4...
19th-Century Music. 2012; 362204–206 doi: https://doi.org/10.1525/ncm.2012.36.2.204
Published: 01 November 2012
... Wang is a graduate student in music his- tory and theory at the University of Chicago. His work focuses on the aesthetics of opera and film. He is currently a student member of the AMS Committee on Cultural Diversity. Brianna Wells is a doctoral student at the Uni- versity of Alberta and is studying...
19th-Century Music. 2012; 362159–171 doi: https://doi.org/10.1525/ncm.2012.36.2.159
Published: 01 November 2012
..., and muted symbolism none of which do much for a traditional story ballet. Emma Polotskaya, a Russian Chekhovist, writes that Classical ballet would thus seem a priori a scenic form whose poetics are diametrically opposed to those of Chekhov s works. 5 Neumeier makes the counterintuitive move of...