Analytical approaches to 20th-century Russian music: tonality, modernism, serialism
"This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely perform...
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| Zusammenfassung: | "This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends across the past hundred years of Russian music. The chapters move by compositional style across the century and each address a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourié, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works, and a richer understanding of how to listen to and interpret their music"-- |
| Beschreibung: | viii, 270 Seiten Diagramme, Notenbeispiele |
| ISBN: | 9780367430320 9780367430337 |
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Datensatz im Suchindex
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| adam_text | CONTENTS List of Contributors Introduction vii 1 PARTI Tonality 1 Tonal Pairing in Two of Rachmaninoff’s Songs Ellen Bakulina 11 13 2 Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky Scott Murphy 32 3 House of Mirrors: Distorted Proportions in Prokofiev’s Piano Concerto No. 1 Rebecca Perry 54 4 A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works Patrick McCreless 71 5 Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian’s Requiem Knar Abrahamyan 91
vi Contents PART II Modernism 111 6 Fifths’ Paths through Nikolai Roslavets s Three Poems of Zinaida Gippius Inessa Bazayev 113 7 Alexander Mosolovs Piano Sonata No. 1 and Its Synthetic Modernism Daniil Zavlunov 132 8 The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera Klára Móricz 155 9 The Features of Alexander Tcherepnin’s Nine-Step Scale and Its Use in the First Movement of His First Symphony Joshua Bedford 173 10 Timbre and Vibration in Gahna Ustvolskayas Composition No. 1, “Dona nobis pacem” Maria Cizmic 189 PART III Serialism 11 Edison Denisov and Multiple-Row Serialism Zachary Cairns 203 205 12 Historical and Stylistic Reconciliation in Sofia Gubaidulina’s Reflections on the Theme BACH Joseph Straus 229 13 Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto Christopher Segali 243 Index 264
INDEX Note: Page numbers in italics indicate examples. Abraham, Gerald 8 Akhmatova, Anna 160-1 All-Night Vigil, Op. 37 (Rachmaninofí) 20 antitonic harmony 35, 37, 44-8, 48, 49-51, 52n26 Armenian Genocide 91-2, 93, 108n4 Armenian music: Europeanized 91; glasi in 95-6, 107; monophonic heritage 91-2, 109nl6; national identity and 91, 107-8; sharakan (liturgical hynms) 95, 95, 96; Western European polyphony and 91 Art of the Fugue, Ћге (Bach) 232, 234, 241 Association for Contemporary Music (Assotsiatsiya sovremennoy muziki, ASM) 133 Basic Elements of My Musical Language, The (Tcherepnin) 174 Bedbug, The (Mayakovsky) 80, 86 Bedbug, The, Op. 19 (Shostakovich) 80, 86, 87, 90nl8 Beebe, Jon 213, 222 Bells, The, Op. 35 (Rachmaninofí) 14 Berg, Alban 206-7 Berio, Luciano 92 Berkov, Viktor 17, 20 Bhabha, Horni К. 107 Blackamoor of Peter the Great, The (Lourié) 159-60, 160 Boulez, Pierre 92 Brown, Stephen C. 87-8 Brutyan, Arshak 91 Bach, J. S.: Ћ։е Art of the Fugue 232, 234, 241; fugue subject and 234, 238, 240; imitative counterpoint of Gubaidulina 229, 232, 234; influence on Lourié 159; lyric melody and 165 BACH monogram 229, 234, 242, 244-5, 248-9, 260 Bailey, Robert 13, 23, 24 Balmont, Konstantin 20, 21, 24 Barber, Samuel 156 Barsova, Inna 135 Bashmet, Yuri 243-5 Bashmet monogram 243-6, 248, 259-60 Callender, Chiton 38 Cannata, David 13 Caplin, William 14, 15 Carvalho, Eleazar de 155—6 Chaikovsky, Pyotr Il’yich 57-8 Chigaryova, Yevgeniya 251 Christensen, Thomas 27 Ciompi, Giorgio 156 Cohn, Richard 34, 45, 47 Concerto da camera (Lourié) see Lourié, Arthur Copland, Aaron 156 Curry,
Thomas W. 193, 199-201
Index 265 Dahlhaus, Carl 27 Danilova, Anna 93 Darcy, Warren 32, 38, 135 Davidjants, Brigitta 91 decoloniality 92-3, 107-8 Denisov, Edison: “Dodecaphony and the Problems of Modern Compositional Techniques” 212; Five Stories of Mr. Keuner 212; influence of Volkonsky on 206; Laments 212; multiple-row serialismi and 5, 206, 212, 224; musical experimentation and 93; on Webern’s serial modulation 218; Western music study 212 — Five Etudes for Bassoon՛, interval-class succession graph (ICSG) of 214, 215-16, 217, 217, 218, 224; invariant pitch-class segments 219, 220; pitch organization and 222; row function in 218-19; row structure of 206, 213, 213, 214, 217-19, 222; serial modulation and 218—19; symmetry of invariant tetrachords 219, 220; tetrachord placement 219, 222; unity in 222-4, 223 — Octet for Winds: contrasting intervallic material in 209, 212; functions of multiple-row serialism and 209, 210-11; interval-class succession graph (ICSG) 207, 208 directional tonality 23-4, 27 Divertissement (Lourié) 157, 164-5 dodecaphony 245, 261 “Dodecaphony and the Problems of Modern Compositional Techniques” (Denisov) 212 Dolan, Emily 191 Draeseke, Felix 19 “Dream, A” Op. 8, No. 5 (Rachmaninoff) 18 Dushkin, Samuel 156 Eidsheim, Nina Sun 190 Eiferen, Isabella van 190 Epilogue (Lourié) 167 Epstein, Nomi 189 equivalence relations 41, 43-5 esthesics 5 Folkman, Benjamin 186, 187nl0 Forte, Allen 34, 38, 40, 43-4, 47 Franck, César 35 Frolova-Walker, Marina 5 Gauldin, Robert 49 German music theory 6, 13 glast 95-6, 107 Glière, Reinhold 132, 133 Graham, Irina 160 Griffiths, Paul 104, 107
Gubaidulina, Sofia. Reflections on the Theme BACH: BACH cipher and 229, 234, 242, 244; chorale synthesis in 241-2, 241; chromatic melody in 229, 231, 231, 232, 232, 239, 242, 239; dissonance in 232; double canon in 232, 234, 235; fugue subject in 234, 236, 238, 238-9, 241; imitative counterpoint in 229, 232, 233-4, 234; musical experimentation and 93; pitch-class inversion in 232, 234, 235; serialism and 5; stylistic reconciliation in 229, 231, 232, 241; trichords in 229, 230, 231, 231, 232, 233, 241, 240 Gutierrez, Shanna 189, 194, 199-200 Haimo, Ethan 206 Hakobian, Levon 95, 134 Handel, George Frideric 165 Handel, Stephen 190 Hanson, Howard 156 Harris, Roy 156 Harrison, Daniel 33, 35 Harrison, Kevin 189 Heifetz, Jascha 156 Heine, Heinrich 14, 20 Hepokoski, James 32, 38, 135 Hrabovsky, Leonid 93 Ilomäki, Tuukka 207, 212 immanence 5 “Inquiry into Melody, An” (Lourié) 157 interval-class succession graph (ICSG) 207 interval succession (INT) 206 Iron Foundry, Hie (Mosolov) 4, 132 Jaynagreal Sarakan hogewor ergoc’ 95, 95 film music 44, 248 Five Etudesfor Bassoon (Denisov) see Denisov, Edison Five Stories of Mr. Keuner(Denisov) 212 Karat igin, Vyacheslav 50 Kerman, Joseph 35 Khachaturian, Aram 50
266 Index Kholopov, Yuri 6, 13, 24, 135, 138, 147 Kholopova, Valentina 251 Kinderman, William 19 Komitas, see Vardapet, Komitas Koussevitzky, Serge 155-6 Krebs, Harald 14, 19 Kremer, Gidon 156 Kuhn, Judith 80 Lady Macbeth of the Mtsensk District, Op. 29 (Shostakovich) 80, 85, 86 Laloy, Jean 156 Laments (Denisov) 212 Leblan, Mikhail 133 Lehman, Frank 34 Liturgy of St.John Chrysostom, Op. 31 (Rachmaninoff) 20 Lourié, Arthur: Blackamoor of Peter the Great, The 159-60, 160; Divertissement 157, 164-5; Epilogue 167; impressionistic compositions of 156; influence of Scriabin 156; influence of Stravinsky 156; “Inquiry into Melody, An” 157; on memory 171; musical analysis and 3; musical language and 171; neoclassicism and 156-7, 161; primacy of melody and 157—8, 161, 171; Profanation et sanctification du temps 171; Sonata for Violin and Double Bass 157, 159; Zaklinaniya 160 — Concerto da camera: “Aria” 159, 161, 162, 163, 163, 164, 167, 169; dissonance in 161-2, 169; “Entrata” 159, 159, 160-1, 166-7, 169, 171; “Epilogo” 166-7, 167, 168, 169, 170, 171; “Fantasia” 159, 165, 165, 166; formal coherence in 161; harmonic texture in 169; inspiration for 156-7; “Intermezzo” 159, 163-4, 164, 167, 167, 169; melody and 161, 162, 163, 163, 164-7, 167, 169, 171; première of 155-6; “Serenata” 157, 159, 163, 165, 166-7; solo violin in 158-9, 161, 164, 169, 171; tonal clarity in 160 Lulu (Berg) 208 Lyric Suite (Berg) 206-7 MacKay, James 66 Mahler, Gustav 156 Malov, Oleg 190, 192 Mansurian, Tigran: avant-garde and 92-3; background of 92; commemoration of Armenian Genocide 91-2, 93, 108, 108n4;
modality and tonality 4; musical experimentation and 92-3; religious turn in music 93 — Requiem: analysis of 93-106; Armenian nationalism and 107-8; augmented second interval 92-3, 95, 95, 96, 98, 107; closing sonority in 93, 94, 98; commemoration of Armenian Genocide 91-2, 93, 108, 108n4; co-presence of musical elements and styles in 91-2; decoloniality in 92-3, 107-8; formal analysis of 94; harmonic progression and 93, 96, 97; monophonic chant and 104, 106, 106; post-Soviet response and 92, 106-7; religious turn in 92-3, 107-8 Maritain, Raissa 171 Martin, Terry 107 Mayakovsky, Vladimir 80, 86 Medtner, Nikolai 36 Messiaen, Olivier 4, 174, 174, 175 Meyer, Felix 156 “Migrant Wind, The” (Balmont) 21 “Migrant Wind, The” Op. 34, No. 4 (Rachmaninoff) see Rachmaninoff, Sergey Milhaud, Darius 156 modernism 2, 4, 132, 134, 158, 171 monograms: BACH 229, 234, 242, 244-5, 248-9, 260; Bashmet 243-6, 248, 259-60; twelve-tone rows and 245; twentieth-century composers and 244 monotonality 19, 28, 29n6 Morrison, Simon 191 Morson, Gary Saul 171 Mosolov, Aleksandr: atonality and 132, 151nl; avant-garde and 132, 151; background of 133; chromatic melodies and 153n29; collectional interactivity and 135, 151; compositional practice of 151; diatonicism and 136, 141; harmonic structure and 135; modernist aesthetic and 133-4; musical analysis and 3; musical style of 134-5; music of Central Asia and 133; Myaskovsky and 132—3; octatonicism and 132, 136, 138, 151, 154n37; piano sonatas and 132-6, 138, 147, 151; pitch organization and 132, 135-6, 138, 151; Prokofiev on 133; quasi-serialism and 147—8,
151; Roslavets on 132; serialism and 132; Stalinist repression and 134; synthetic chords and 148; tonalities and 153n32; transpositions and 4, 148-9, 151
Index 267 — Piano Sonata No. 1: chromaticism and 143, 147; climactic statement 143, 144; collectional interactivity and 141, 143; contrasting textures in 146, 147; diatonicism and 137, 141; inversional symmetry in 140, 140; octatonicism and 138, 139, 140-1, 142, 143, 146; pitch organization and 136, 138, 140-1, 143, 146; primary theme 148-9, 149, 154n47; quasi-serialism and 147-9; secondary theme 143, 145, 146; transpositions and 148-9, 150 Mosolov, Aleksandr, works of: Piano Concerto No. 1 132; Piano Sonata No. 2 135; Piano Sonata No. 4 132; Piano Sonata No. 5 132-3; String Quartet No. 1 132-3 Mosolova, Nina 133 multiple-row serialism: functional issues 208-9, 224; interval-class succession graph (ICSG) 207; interval succession (INT) and 206; pitch material and 205-6; similarity measures and 207; structural issues 207, 224; unity issues 212, 224 Münchener Kammerorchester 91 Musica stricta (Volkonsky) 205-6, 207, 209, 222 Musicfor an Imaginary Play (Schnittke) 249, 249, 250, 256 mutability ÿeremennost’) 17 Myaskovsky, Nikolai: antitonic events and 37, 44-5; antitonic harmony and 45-51; equivalence relations in 38; harmonic progression and 32-3, 37, 44, 47; Mosolov and 132—3; Prokofiev on 50; tonality and 4; Type 2 sonata form and 32, 33 Myaskovsky, Nikolai, works of: Piano Sonata No. 6, Op. 64, No. 2 43; String Quartet No. 8, Op. 59 49, 50; Symphony No. 1, Op. 3 49; Symphony No. 3, Op. 15 43; Symphony No. 4, Op. 17 45, 45; Symphony No. 5, Op. 18 42 Nalimova, Elena 190-2 Nattiez, Jean-Jacques 5 neoclassicism 156—7, 161 Neo-Riemannian theory 26, 30n32, 44, 246-7 nine-step
scale: common tone relationships 177, 178; features of 174—9; harmonic possibilities and 176, 177; hexatonic collection 177-9; intervallic patterns 176, 176; limited transpositions in 175, 175; Messiaen and 174-5; Tcherepnin and 4, 173-4, 174, 175-9, 187nl; tetrachords in 174—6; whole-tone collection 178 Nose, The, Op. 15 (Shostakovich) 88 octatonicism 132, 136, 138, 140-1, 151 OTIC symmetries 38, 40-1, 43-4, 47 Panteleeva, Olga 191 Part, Arvo 93, 224 peremennost’ see mutability Petrobelli, Pierluigi 20 “Petukhi” from Three Poems of Zinaida Gippius (Roslavetş) 117, 122, 124-9 “Pianissimo” (Trois Etudes) (Roslavets) see Roslavets, Nikolai Piano Concerto No. 1, Op. 23 (Chaikovsky) 57-8 Piano Concerto No. 1, Op. 10 (Prokofiev) see Prokofiev, Sergey Piano Sonata in G Minor, Op. 22 (Medtner) 36 Piano Sonata No. 2, Op. 64 (Shostakovich) 88 Piano Sonata No. 6, Op. 64, No. 2 (Myaskovsky) 43 Piano Variations, Op. 27 (Webern) 218 Piston, Walter 156 Pleshcheyev, Aleksey 14, 15, 20 Poem without a Hero (Akhmatova) 160-1 poietics 5 polystylism 243-4, 248-9 Popov, Valeriy 213 Profanation et sanctification du temps (Lourié) 171 Prokofiev, Sergey: Austro-German influences and 69nl2; formal strategies of 54-5, 57; harmonic innovations of 4; harmonic progression and 34, 37; on Mosolov 133; on Myaskovsky 50; rondo and 68; sonata form and 3, 54-5, 57, 59-66; String Quartet No. 1 35, 37; thematic disruptions and 55, 60-3 — Piano Concerto No. 1, Op. 10: alternative rondo reading 66, 67, 68; Andante assai episode in 63—4, 64, 65-6; cadenza in 58, 58, 59-61; formal strategies of 54-5, 56, 57;
introduction to 57, 57, 58—60, 63, 66; motivic material in 59-60, 60; proportion and
268 Index 66; sonata form and 55, 59-61, 61, 62, 62, 63—6, 68; tonality in 57, 61, 65 Prosser, Simon 49 Quinn, Ian 38 Raaben, Lev 190 Rachmaninoff, Sergey: All-Night Vigil, Op. 37 20; Bells, The, Op. 35 14; cadence and 15-19; “Dream, A” Op. 8, No. 5 18; Liturgy of St.John Chrysostom, Op. 31 20; mutability (peremennosť) and 20; solo song (romans) and 13-14; Three Russian Songs, Op. 41 14; tonal duality and 13-14, 18-20, 28; tonality and 4, 27 — “Migrant Wind, The” Op. 34, No. 4: cadence in 21—2, 22, 23, 27; formal scheme of21, 21; melodic unity and 2 6; post-Romanticism and 20; Schenkerian analysis 22, 23, 23-4, 25; sonorità and 21; tonal duality and 13-14, 20-4, 26-7; tonal progression and 27 — “Water Lily” Op. 8, No. 1: cadence in 15-19; directional tonality and 23-4, 27; recomposition of 18, 18; Romanticism and 20; Schenkerian analysis 19; sonorità and 20; tonal duality and 13-15, 15, 16, 16, 17, 17, 18-20, 27 Reflections on the Theme BACH (Gubaidulina) see Gubaidulina, Sofia Requiem (Mansurian) see Mansurian, Tigran RIAS Kammerchor Berlin 91 Riemann, Hugo 6, 30n32, 34, 38 Rite of Spring, The (Stravinsky) 38, 39, 40, 43-4, 164 Roberts, Peter Deane 138 romans (romance) see solo song (romans) Romanticism 14-15, 20, 29nl5 Rosenblum, Andrew 189 Roslavets, Nikolai: artistic development of 113, 130nl; compositional practice of 116-17, 119-20, 122, 129; on Mosolov 132; non-chord tones and 113-14, 116, 119, 122; synthetic-chord system and 113-14, 118; transpositions and 4, 129; Trois Etudes 113; vocal music and 116, 129-30 — “Pianissimo” (Trois Etudes): quints (Q) in 114, 116,
116; synthetic-chord system and 113-14, 115, 116, 116 — Three Poems of Zinaida Gippius: asymmetrical chord-path in 120, 122, 128, 128; imbalance in 122; non chord tones and 113-14, 116, 118, 119-20, 121, 122, 123, 125, 124, 126, 127, 128, 13ІПІЗ; quints (Q) in 120, 121; song form in 117, 117; symmetric chord-paths 117, 129; synthetic-chord system and 116-17, 119-21, 121, 124, 129; tonic chords in 124, 126, 126; vocal lyrics and 119, 119, 124, 129; vocal parts in 119-20, 129 Rothstein, William 20 Russian Association of Proletarian Musicians (RAPM) 134 Russian Futurists 113, 116, 156 Russian music: changing-background variations in 73, 89n5; émigré composers 2—3; modernism and 2, 4; multiple-row serialism 208; musicological studies 1-6; nationalist politics and 5; serial composition in 224; serialism and 2, 4-5; tonality and 2—4; see also Soviet music Russian music theory 6-7, 13 Russian Music Theory Interest Group (Society for Music Theory) 6 Russian Society for Theory of Music (Ohshchestvo teorii muziki, ОТМ) 7 Saint-Saëns, Camille 49 Saryan, Ghazaros 92 Schenker, Heinrich 19, 23 Schenkerian analysis 13-14, 19 “Schlanke Wasserlilie, Die” (Heine) 14 Schmelz, Peter J. 93, 208-9, 224, 243 Schnittke, Alfred: BACH monogram and 244; influence of Volkonsky on 206; large-scale form and 243-4; musical analysis and 3; musical experimentation and 93; musical language and 243; Musicfor an Imaginary Play 249, 249, 250, 256; polystylism and 243-4, 248-9; serialism and 5; themes and 243—4; on timbre 190; twelve-tone techniques and 5, 243-6 — Viola Concerto: BACH monogram in 248-9, 260;
Bashmet monogram in 243-6, 245, 246, 248, 259-60; circus dance in 249-50, 256—7, 257; climax in 257-8, 258, 259; doublestops theme in 256; fanfare theme in 250-1, 257-9; hymn theme in 257;
Index 269 large-scale form and 249-50, 250, 251; late-Soviet serialism and 261; listener experiences of 243-4, 260-1; pitchcipher monograms 244; polystylism and 261; Romantic idyll 246, 250, 259, 259, 260; rotational structure in 244, 250-1, 254, 257-60; semitone theme in 251, 252, 253, 254; theme and form in 243-7; tonal gesture in 259; tragic theme in 254, 255; triadic transformations 246-8; twelve-tone chorale in 247, 247, 248, 254, 256, 256 Schoenberg, Arnold: BACH monogram and 244; on multiple row serialism 206, 225n8; timbre and 190; tonality and 3, 27; Variations for Orchestra, Op. 31 206 Schuman, William 156 Schumann, Robert 20, 30n26, 31n34 Scriabin, Aleksandr 3-4, 6, 156 Second Practice of Nineteenth-Century Tonality, The (Kinderman and Krebs) 19 Second Viennese School 5, 92, 206, 224 serialism: dodecaphonic rows 245, 261; interval succession (INT) 206; multiplerow 205-9, 212; pitch and 206-7; Soviet composers and 205-6, 261; structural issues 207; twelve-tone 2, 4-5, 207, 245-6, 261 Shapero, Harold 156 sharakan (liturgical hymns) 95, 95, 96 Shostakovich, Dmitri: chromatic major thirds 85; chromatic minor thirds 71, 74-80, 85-6, 88; DSCH motive of 87-8; early string quartets 71; emotional tone and 87; harmonic choices of3; influence of Volkonsky on 209; modal clash and 88; modal lowering and 88; musical analysis and 6; musical style of 156; ominous thirds figure 85; parallel thirds and 71-8, 80, 82—5; tonality and 4; twelve-tone techniques and 209; Ustvolskaya and 78 — String Quartet No. 1, Op. 49 71-2, 72, 73-5 — String Quartet No. 2, Op. 68 75-6, 16, 77-8, 88 —
String Quartet No. 5, Op. 92 78—9, 79, 80, 81 Shostakovich, Dmitri, works of: Bedbug, The, Op. 19 80, 86, 87, 90nl8; Lady Macbeth of the Mtsensk District, Op. 29 80, 85, 86; Nose, The, Op. 15 88; Piano Sonata No. 2, Op. 64 88; Six Romances on Texts by Japanese Poets, Op. 21 88; String Quartet No. 12, Op. 133 209; Symphony No. 1, Op. 10 88; Symphony No. 5, Op. 47 80, 82, 82, 83, 83, 84-5; Symphony No. 6, Op. 54 88; Symphony No. 10, Op. 93 87-8; Symphony No. 14 209; Twenty-Four Preludes for Piano, Op. 34 88; Violin Concerto No. 1, Op. 77 88; Violin Sonata, Op. 134 209 sintetakkord i see synthetic chords Six Romances on Texts byJapanese Poets, Op. 21 (Shostakovich) 88 Soghomonian, Soghomon 91 solo song (romans) 13 sonata form: Mosolov and 135-6; Prokofiev and 54-5, 57, 59-66, 68 sonorità 20, 21 Soviet music: avant-garde and 132, 151; émigré composers 2-3; national style of 92—3, 109nl5; octatonicism and 151, 153n36; religious turn in 92—3; serial composition in 205-6, 208—9, 224, 261; Stalinism and 134; tonal composers 3; turn from abstraction 243; unofficial composers in 92-3; see also Russian music St. Matthew Passion (Bach) 165 Stockhausen, Karlheinz 92 Straus, Joseph 34 Stravinsky, Igor: anti-expressionist aesthetics 171; harmonic approaches of3; L’Histoire du soldat 159; influence on Lourié 156; musical analysis and 6; on music’s ontological time 157; Rite of Spring, The 38, 39, 40, 43—4, 164 String Quartet No. 1, Op. 49 (Shostakovich) see Shostakovich, Dmitri String Quartet No. 5, Op. 92 (Shostakovich) see Shostakovich, Dmitri String Quartet No. 8, Op. 59 (Myaskovsky)
49, 50 String Quartet No. 12, Op. 133 (Shostakovich) 209 Suite of Mirrors (Volkonsky) 206 Suvchinsky, Pyotr 157 Symphonic Variations (Franck) 35 Symphony No. 1, Op. 3 (Myaskovsky) 49 Symphony No. 1, Op. 10 (Shostakovich) 88 Symphony No. 1, Op. 42 (Tcherepnin) see Tcherepnin, Alexander Symphony No. 3, Op. 15 (Myaskovsky) 43 Symphony No. 4, Op. 17 (Myaskovsky) 45, 45
270 Index Symphony No. 5, Op. 18 (Myaskovsky) 42 Symphony No. 5 (Shostakovich) 82, 82, 83, 83, 84-5 Symphony No. 6, Op. 54 (Shostakovich) 88 Symphony No. 10, Op. 93 (Shostakovich) 87-8 Symphony No. 14 (Shostakovich) 209 synthetic chords (sintetakkordi) 113-14 Taruskin, Richard 5, 8, 89n5 Tchaikovsky, Pyotr Il’yich see Chaikovsky, Pyotr Il’yich Tcherepnin, Alexander: compositional practice of 187; nine-step scale and 4, 173-4, 174, 175-9, 187nl; nondiatonic compositional methods 173 — Symphony No. 1 in E, Op. 42: common tone relationships 181, 182, 183; hexatonic collection 181, 185; maestoso presentation 180, 180; ninestep scale and 173, 179—81, 183, 183, 184-7; recapitulation in 185; sonatarondo formin 179, 180, 187nl0; tonal centers and 183-4, 184; transitions in 180, 180, 181, 183, 185, 186 Technique de mon langage musicale (Messiaen) 174 Three Poems of Zinaida Gippius (Roslavets) see Roslavets, Nikolai Three Russian Songs, Op. 41 (Rachmaninoff) 14 timbre 190-2 Tlostanova, Madina 92, 107 tonality: directional 23-4, 27; mutability and 24; new directions in 2-3; piagai progression and 29nl3; Russian composers and 3-4; tonal duality and 13-14; see abo antitonic harmony; tonal pairing tonalpairing: cadence in 15; harmonic fonction and 13-14, 18-19; musical Romanticism and 14; Schenkerian analysis and 13-14, 19, 22-3; sonorità and 20 tonal-triadic progression classes (TTPCs) 44 Trois Études (Roslavets) 113 twelve-tone techniques: Bashmet monogram and 245; fonctional issues and 208-9; Schnittke and 5, 243-6; Soviet composers and 2, 4-5, 224, 243, 245; structural issues and
207, 214; unity and 222-4 lymoczko, Dmitri 38 Ustvolskaya, Galina: physicality of music and 4, 191; Shostakovich and 78; spirituality and 200; Symphony No. 6 191; timbre and vibration 190—2 — Composition No. 1: breathing and 200-1; decay of sound in 189, 191, 195, 198, 200-1; durations and 193, 198, 200-1; formal design of 192; intentional relaxation and 201; listener experiences of 199; melody and 199-200; musical-emotional aspects and 192, 199; musical “problem” and 192-3, 197; opening tuba solo 193, 193; pitch organization and 192-3, 194, 195, 198, 197, 198; propulsive sound and 192, 195, 195; timbre and vibration 189-92, 195, 196, 198-202; transpositions and 192, 195, 196 Vande Moortele, Steven 60, 68 Vardapet, Komitas 91 “Vesenniy veter” from Three Poems of Zinaida Gippius (Roslavets) 116-22 Violin Concerto No. 1, Op. 77 (Shostakovich) 88 Violin Sonata, Op. 134 (Shostakovich) 209 Volkonsky, Andrey: influence on Shostakovich 209; influence on Soviet composers 206, 209; multiple-row serialism and 205-6, 209, 224; Musica stricta 205—6, 207, 209, 222; Suite of Mirrors 206 Vorobyev, Igor 138 Wadsworth, Benjamin 19, 23—4 Wallmark, Zachary 190 “Water Lily” (Pleshcheyev) 14, 15 Wáter Lily” Op. 8, No. 1 (Rachmaninoff) see Rachmaninoff, Sergey Webern, Anton 218, 244 Wilson, Edmund 155, 171 Zaklinaniya (Lourié) 160 “Zaklinan’ye” from Three Poems of Zinaida Gippius (Roslavets) 117, 122-6 Zuk, Patrick 51 Bayerische Staatsbibliothek München
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CONTENTS List of Contributors Introduction vii 1 PARTI Tonality 1 Tonal Pairing in Two of Rachmaninoff’s Songs Ellen Bakulina 11 13 2 Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky Scott Murphy 32 3 House of Mirrors: Distorted Proportions in Prokofiev’s Piano Concerto No. 1 Rebecca Perry 54 4 A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works Patrick McCreless 71 5 Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian’s Requiem Knar Abrahamyan 91
vi Contents PART II Modernism 111 6 Fifths’ Paths through Nikolai Roslavets s Three Poems of Zinaida Gippius Inessa Bazayev 113 7 Alexander Mosolovs Piano Sonata No. 1 and Its Synthetic Modernism Daniil Zavlunov 132 8 The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera Klára Móricz 155 9 The Features of Alexander Tcherepnin’s Nine-Step Scale and Its Use in the First Movement of His First Symphony Joshua Bedford 173 10 Timbre and Vibration in Gahna Ustvolskayas Composition No. 1, “Dona nobis pacem” Maria Cizmic 189 PART III Serialism 11 Edison Denisov and Multiple-Row Serialism Zachary Cairns 203 205 12 Historical and Stylistic Reconciliation in Sofia Gubaidulina’s Reflections on the Theme BACH Joseph Straus 229 13 Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto Christopher Segali 243 Index 264
INDEX Note: Page numbers in italics indicate examples. Abraham, Gerald 8 Akhmatova, Anna 160-1 All-Night Vigil, Op. 37 (Rachmaninofí) 20 antitonic harmony 35, 37, 44-8, 48, 49-51, 52n26 Armenian Genocide 91-2, 93, 108n4 Armenian music: Europeanized 91; glasi in 95-6, 107; monophonic heritage 91-2, 109nl6; national identity and 91, 107-8; sharakan (liturgical hynms) 95, 95, 96; Western European polyphony and 91 Art of the Fugue, Ћге (Bach) 232, 234, 241 Association for Contemporary Music (Assotsiatsiya sovremennoy muziki, ASM) 133 Basic Elements of My Musical Language, The (Tcherepnin) 174 Bedbug, The (Mayakovsky) 80, 86 Bedbug, The, Op. 19 (Shostakovich) 80, 86, 87, 90nl8 Beebe, Jon 213, 222 Bells, The, Op. 35 (Rachmaninofí) 14 Berg, Alban 206-7 Berio, Luciano 92 Berkov, Viktor 17, 20 Bhabha, Horni К. 107 Blackamoor of Peter the Great, The (Lourié) 159-60, 160 Boulez, Pierre 92 Brown, Stephen C. 87-8 Brutyan, Arshak 91 Bach, J. S.: Ћ։е Art of the Fugue 232, 234, 241; fugue subject and 234, 238, 240; imitative counterpoint of Gubaidulina 229, 232, 234; influence on Lourié 159; lyric melody and 165 BACH monogram 229, 234, 242, 244-5, 248-9, 260 Bailey, Robert 13, 23, 24 Balmont, Konstantin 20, 21, 24 Barber, Samuel 156 Barsova, Inna 135 Bashmet, Yuri 243-5 Bashmet monogram 243-6, 248, 259-60 Callender, Chiton 38 Cannata, David 13 Caplin, William 14, 15 Carvalho, Eleazar de 155—6 Chaikovsky, Pyotr Il’yich 57-8 Chigaryova, Yevgeniya 251 Christensen, Thomas 27 Ciompi, Giorgio 156 Cohn, Richard 34, 45, 47 Concerto da camera (Lourié) see Lourié, Arthur Copland, Aaron 156 Curry,
Thomas W. 193, 199-201
Index 265 Dahlhaus, Carl 27 Danilova, Anna 93 Darcy, Warren 32, 38, 135 Davidjants, Brigitta 91 decoloniality 92-3, 107-8 Denisov, Edison: “Dodecaphony and the Problems of Modern Compositional Techniques” 212; Five Stories of Mr. Keuner 212; influence of Volkonsky on 206; Laments 212; multiple-row serialismi and 5, 206, 212, 224; musical experimentation and 93; on Webern’s serial modulation 218; Western music study 212 — Five Etudes for Bassoon՛, interval-class succession graph (ICSG) of 214, 215-16, 217, 217, 218, 224; invariant pitch-class segments 219, 220; pitch organization and 222; row function in 218-19; row structure of 206, 213, 213, 214, 217-19, 222; serial modulation and 218—19; symmetry of invariant tetrachords 219, 220; tetrachord placement 219, 222; unity in 222-4, 223 — Octet for Winds: contrasting intervallic material in 209, 212; functions of multiple-row serialism and 209, 210-11; interval-class succession graph (ICSG) 207, 208 directional tonality 23-4, 27 Divertissement (Lourié) 157, 164-5 dodecaphony 245, 261 “Dodecaphony and the Problems of Modern Compositional Techniques” (Denisov) 212 Dolan, Emily 191 Draeseke, Felix 19 “Dream, A” Op. 8, No. 5 (Rachmaninoff) 18 Dushkin, Samuel 156 Eidsheim, Nina Sun 190 Eiferen, Isabella van 190 Epilogue (Lourié) 167 Epstein, Nomi 189 equivalence relations 41, 43-5 esthesics 5 Folkman, Benjamin 186, 187nl0 Forte, Allen 34, 38, 40, 43-4, 47 Franck, César 35 Frolova-Walker, Marina 5 Gauldin, Robert 49 German music theory 6, 13 glast 95-6, 107 Glière, Reinhold 132, 133 Graham, Irina 160 Griffiths, Paul 104, 107
Gubaidulina, Sofia. Reflections on the Theme BACH: BACH cipher and 229, 234, 242, 244; chorale synthesis in 241-2, 241; chromatic melody in 229, 231, 231, 232, 232, 239, 242, 239; dissonance in 232; double canon in 232, 234, 235; fugue subject in 234, 236, 238, 238-9, 241; imitative counterpoint in 229, 232, 233-4, 234; musical experimentation and 93; pitch-class inversion in 232, 234, 235; serialism and 5; stylistic reconciliation in 229, 231, 232, 241; trichords in 229, 230, 231, 231, 232, 233, 241, 240 Gutierrez, Shanna 189, 194, 199-200 Haimo, Ethan 206 Hakobian, Levon 95, 134 Handel, George Frideric 165 Handel, Stephen 190 Hanson, Howard 156 Harris, Roy 156 Harrison, Daniel 33, 35 Harrison, Kevin 189 Heifetz, Jascha 156 Heine, Heinrich 14, 20 Hepokoski, James 32, 38, 135 Hrabovsky, Leonid 93 Ilomäki, Tuukka 207, 212 immanence 5 “Inquiry into Melody, An” (Lourié) 157 interval-class succession graph (ICSG) 207 interval succession (INT) 206 Iron Foundry, Hie (Mosolov) 4, 132 Jaynagreal Sarakan hogewor ergoc’ 95, 95 film music 44, 248 Five Etudesfor Bassoon (Denisov) see Denisov, Edison Five Stories of Mr. Keuner(Denisov) 212 Karat'igin, Vyacheslav 50 Kerman, Joseph 35 Khachaturian, Aram 50
266 Index Kholopov, Yuri 6, 13, 24, 135, 138, 147 Kholopova, Valentina 251 Kinderman, William 19 Komitas, see Vardapet, Komitas Koussevitzky, Serge 155-6 Krebs, Harald 14, 19 Kremer, Gidon 156 Kuhn, Judith 80 Lady Macbeth of the Mtsensk District, Op. 29 (Shostakovich) 80, 85, 86 Laloy, Jean 156 Laments (Denisov) 212 Leblan, Mikhail 133 Lehman, Frank 34 Liturgy of St.John Chrysostom, Op. 31 (Rachmaninoff) 20 Lourié, Arthur: Blackamoor of Peter the Great, The 159-60, 160; Divertissement 157, 164-5; Epilogue 167; impressionistic compositions of 156; influence of Scriabin 156; influence of Stravinsky 156; “Inquiry into Melody, An” 157; on memory 171; musical analysis and 3; musical language and 171; neoclassicism and 156-7, 161; primacy of melody and 157—8, 161, 171; Profanation et sanctification du temps 171; Sonata for Violin and Double Bass 157, 159; Zaklinaniya 160 — Concerto da camera: “Aria” 159, 161, 162, 163, 163, 164, 167, 169; dissonance in 161-2, 169; “Entrata” 159, 159, 160-1, 166-7, 169, 171; “Epilogo” 166-7, 167, 168, 169, 170, 171; “Fantasia” 159, 165, 165, 166; formal coherence in 161; harmonic texture in 169; inspiration for 156-7; “Intermezzo” 159, 163-4, 164, 167, 167, 169; melody and 161, 162, 163, 163, 164-7, 167, 169, 171; première of 155-6; “Serenata” 157, 159, 163, 165, 166-7; solo violin in 158-9, 161, 164, 169, 171; tonal clarity in 160 Lulu (Berg) 208 Lyric Suite (Berg) 206-7 MacKay, James 66 Mahler, Gustav 156 Malov, Oleg 190, 192 Mansurian, Tigran: avant-garde and 92-3; background of 92; commemoration of Armenian Genocide 91-2, 93, 108, 108n4;
modality and tonality 4; musical experimentation and 92-3; religious turn in music 93 — Requiem: analysis of 93-106; Armenian nationalism and 107-8; augmented second interval 92-3, 95, 95, 96, 98, 107; closing sonority in 93, 94, 98; commemoration of Armenian Genocide 91-2, 93, 108, 108n4; co-presence of musical elements and styles in 91-2; decoloniality in 92-3, 107-8; formal analysis of 94; harmonic progression and 93, 96, 97; monophonic chant and 104, 106, 106; post-Soviet response and 92, 106-7; religious turn in 92-3, 107-8 Maritain, Raissa 171 Martin, Terry 107 Mayakovsky, Vladimir 80, 86 Medtner, Nikolai 36 Messiaen, Olivier 4, 174, 174, 175 Meyer, Felix 156 “Migrant Wind, The” (Balmont) 21 “Migrant Wind, The” Op. 34, No. 4 (Rachmaninoff) see Rachmaninoff, Sergey Milhaud, Darius 156 modernism 2, 4, 132, 134, 158, 171 monograms: BACH 229, 234, 242, 244-5, 248-9, 260; Bashmet 243-6, 248, 259-60; twelve-tone rows and 245; twentieth-century composers and 244 monotonality 19, 28, 29n6 Morrison, Simon 191 Morson, Gary Saul 171 Mosolov, Aleksandr: atonality and 132, 151nl; avant-garde and 132, 151; background of 133; chromatic melodies and 153n29; collectional interactivity and 135, 151; compositional practice of 151; diatonicism and 136, 141; harmonic structure and 135; modernist aesthetic and 133-4; musical analysis and 3; musical style of 134-5; music of Central Asia and 133; Myaskovsky and 132—3; octatonicism and 132, 136, 138, 151, 154n37; piano sonatas and 132-6, 138, 147, 151; pitch organization and 132, 135-6, 138, 151; Prokofiev on 133; quasi-serialism and 147—8,
151; Roslavets on 132; serialism and 132; Stalinist repression and 134; synthetic chords and 148; tonalities and 153n32; transpositions and 4, 148-9, 151
Index 267 — Piano Sonata No. 1: chromaticism and 143, 147; climactic statement 143, 144; collectional interactivity and 141, 143; contrasting textures in 146, 147; diatonicism and 137, 141; inversional symmetry in 140, 140; octatonicism and 138, 139, 140-1, 142, 143, 146; pitch organization and 136, 138, 140-1, 143, 146; primary theme 148-9, 149, 154n47; quasi-serialism and 147-9; secondary theme 143, 145, 146; transpositions and 148-9, 150 Mosolov, Aleksandr, works of: Piano Concerto No. 1 132; Piano Sonata No. 2 135; Piano Sonata No. 4 132; Piano Sonata No. 5 132-3; String Quartet No. 1 132-3 Mosolova, Nina 133 multiple-row serialism: functional issues 208-9, 224; interval-class succession graph (ICSG) 207; interval succession (INT) and 206; pitch material and 205-6; similarity measures and 207; structural issues 207, 224; unity issues 212, 224 Münchener Kammerorchester 91 Musica stricta (Volkonsky) 205-6, 207, 209, 222 Musicfor an Imaginary Play (Schnittke) 249, 249, 250, 256 mutability ÿeremennost’) 17 Myaskovsky, Nikolai: antitonic events and 37, 44-5; antitonic harmony and 45-51; equivalence relations in 38; harmonic progression and 32-3, 37, 44, 47; Mosolov and 132—3; Prokofiev on 50; tonality and 4; Type 2 sonata form and 32, 33 Myaskovsky, Nikolai, works of: Piano Sonata No. 6, Op. 64, No. 2 43; String Quartet No. 8, Op. 59 49, 50; Symphony No. 1, Op. 3 49; Symphony No. 3, Op. 15 43; Symphony No. 4, Op. 17 45, 45; Symphony No. 5, Op. 18 42 Nalimova, Elena 190-2 Nattiez, Jean-Jacques 5 neoclassicism 156—7, 161 Neo-Riemannian theory 26, 30n32, 44, 246-7 nine-step
scale: common tone relationships 177, 178; features of 174—9; harmonic possibilities and 176, 177; hexatonic collection 177-9; intervallic patterns 176, 176; limited transpositions in 175, 175; Messiaen and 174-5; Tcherepnin and 4, 173-4, 174, 175-9, 187nl; tetrachords in 174—6; whole-tone collection 178 Nose, The, Op. 15 (Shostakovich) 88 octatonicism 132, 136, 138, 140-1, 151 OTIC symmetries 38, 40-1, 43-4, 47 Panteleeva, Olga 191 Part, Arvo 93, 224 peremennost’ see mutability Petrobelli, Pierluigi 20 “Petukhi” from Three Poems of Zinaida Gippius (Roslavetş) 117, 122, 124-9 “Pianissimo” (Trois Etudes) (Roslavets) see Roslavets, Nikolai Piano Concerto No. 1, Op. 23 (Chaikovsky) 57-8 Piano Concerto No. 1, Op. 10 (Prokofiev) see Prokofiev, Sergey Piano Sonata in G Minor, Op. 22 (Medtner) 36 Piano Sonata No. 2, Op. 64 (Shostakovich) 88 Piano Sonata No. 6, Op. 64, No. 2 (Myaskovsky) 43 Piano Variations, Op. 27 (Webern) 218 Piston, Walter 156 Pleshcheyev, Aleksey 14, 15, 20 Poem without a Hero (Akhmatova) 160-1 poietics 5 polystylism 243-4, 248-9 Popov, Valeriy 213 Profanation et sanctification du temps (Lourié) 171 Prokofiev, Sergey: Austro-German influences and 69nl2; formal strategies of 54-5, 57; harmonic innovations of 4; harmonic progression and 34, 37; on Mosolov 133; on Myaskovsky 50; rondo and 68; sonata form and 3, 54-5, 57, 59-66; String Quartet No. 1 35, 37; thematic disruptions and 55, 60-3 — Piano Concerto No. 1, Op. 10: alternative rondo reading 66, 67, 68; Andante assai episode in 63—4, 64, 65-6; cadenza in 58, 58, 59-61; formal strategies of 54-5, 56, 57;
introduction to 57, 57, 58—60, 63, 66; motivic material in 59-60, 60; proportion and
268 Index 66; sonata form and 55, 59-61, 61, 62, 62, 63—6, 68; tonality in 57, 61, 65 Prosser, Simon 49 Quinn, Ian 38 Raaben, Lev 190 Rachmaninoff, Sergey: All-Night Vigil, Op. 37 20; Bells, The, Op. 35 14; cadence and 15-19; “Dream, A” Op. 8, No. 5 18; Liturgy of St.John Chrysostom, Op. 31 20; mutability (peremennosť) and 20; solo song (romans) and 13-14; Three Russian Songs, Op. 41 14; tonal duality and 13-14, 18-20, 28; tonality and 4, 27 — “Migrant Wind, The” Op. 34, No. 4: cadence in 21—2, 22, 23, 27; formal scheme of21, 21; melodic unity and 2 6; post-Romanticism and 20; Schenkerian analysis 22, 23, 23-4, 25; sonorità and 21; tonal duality and 13-14, 20-4, 26-7; tonal progression and 27 — “Water Lily” Op. 8, No. 1: cadence in 15-19; directional tonality and 23-4, 27; recomposition of 18, 18; Romanticism and 20; Schenkerian analysis 19; sonorità and 20; tonal duality and 13-15, 15, 16, 16, 17, 17, 18-20, 27 Reflections on the Theme BACH (Gubaidulina) see Gubaidulina, Sofia Requiem (Mansurian) see Mansurian, Tigran RIAS Kammerchor Berlin 91 Riemann, Hugo 6, 30n32, 34, 38 Rite of Spring, The (Stravinsky) 38, 39, 40, 43-4, 164 Roberts, Peter Deane 138 romans (romance) see solo song (romans) Romanticism 14-15, 20, 29nl5 Rosenblum, Andrew 189 Roslavets, Nikolai: artistic development of 113, 130nl; compositional practice of 116-17, 119-20, 122, 129; on Mosolov 132; non-chord tones and 113-14, 116, 119, 122; synthetic-chord system and 113-14, 118; transpositions and 4, 129; Trois Etudes 113; vocal music and 116, 129-30 — “Pianissimo” (Trois Etudes): quints (Q) in 114, 116,
116; synthetic-chord system and 113-14, 115, 116, 116 — Three Poems of Zinaida Gippius: asymmetrical chord-path in 120, 122, 128, 128; imbalance in 122; non chord tones and 113-14, 116, 118, 119-20, 121, 122, 123, 125, 124, 126, 127, 128, 13ІПІЗ; quints (Q) in 120, 121; song form in 117, 117; symmetric chord-paths 117, 129; synthetic-chord system and 116-17, 119-21, 121, 124, 129; tonic chords in 124, 126, 126; vocal lyrics and 119, 119, 124, 129; vocal parts in 119-20, 129 Rothstein, William 20 Russian Association of Proletarian Musicians (RAPM) 134 Russian Futurists 113, 116, 156 Russian music: changing-background variations in 73, 89n5; émigré composers 2—3; modernism and 2, 4; multiple-row serialism 208; musicological studies 1-6; nationalist politics and 5; serial composition in 224; serialism and 2, 4-5; tonality and 2—4; see also Soviet music Russian music theory 6-7, 13 Russian Music Theory Interest Group (Society for Music Theory) 6 Russian Society for Theory of Music (Ohshchestvo teorii muziki, ОТМ) 7 Saint-Saëns, Camille 49 Saryan, Ghazaros 92 Schenker, Heinrich 19, 23 Schenkerian analysis 13-14, 19 “Schlanke Wasserlilie, Die” (Heine) 14 Schmelz, Peter J. 93, 208-9, 224, 243 Schnittke, Alfred: BACH monogram and 244; influence of Volkonsky on 206; large-scale form and 243-4; musical analysis and 3; musical experimentation and 93; musical language and 243; Musicfor an Imaginary Play 249, 249, 250, 256; polystylism and 243-4, 248-9; serialism and 5; themes and 243—4; on timbre 190; twelve-tone techniques and 5, 243-6 — Viola Concerto: BACH monogram in 248-9, 260;
Bashmet monogram in 243-6, 245, 246, 248, 259-60; circus dance in 249-50, 256—7, 257; climax in 257-8, 258, 259; doublestops theme in 256; fanfare theme in 250-1, 257-9; hymn theme in 257;
Index 269 large-scale form and 249-50, 250, 251; late-Soviet serialism and 261; listener experiences of 243-4, 260-1; pitchcipher monograms 244; polystylism and 261; Romantic idyll 246, 250, 259, 259, 260; rotational structure in 244, 250-1, 254, 257-60; semitone theme in 251, 252, 253, 254; theme and form in 243-7; tonal gesture in 259; tragic theme in 254, 255; triadic transformations 246-8; twelve-tone chorale in 247, 247, 248, 254, 256, 256 Schoenberg, Arnold: BACH monogram and 244; on multiple row serialism 206, 225n8; timbre and 190; tonality and 3, 27; Variations for Orchestra, Op. 31 206 Schuman, William 156 Schumann, Robert 20, 30n26, 31n34 Scriabin, Aleksandr 3-4, 6, 156 Second Practice of Nineteenth-Century Tonality, The (Kinderman and Krebs) 19 Second Viennese School 5, 92, 206, 224 serialism: dodecaphonic rows 245, 261; interval succession (INT) 206; multiplerow 205-9, 212; pitch and 206-7; Soviet composers and 205-6, 261; structural issues 207; twelve-tone 2, 4-5, 207, 245-6, 261 Shapero, Harold 156 sharakan (liturgical hymns) 95, 95, 96 Shostakovich, Dmitri: chromatic major thirds 85; chromatic minor thirds 71, 74-80, 85-6, 88; DSCH motive of 87-8; early string quartets 71; emotional tone and 87; harmonic choices of3; influence of Volkonsky on 209; modal clash and 88; modal lowering and 88; musical analysis and 6; musical style of 156; ominous thirds figure 85; parallel thirds and 71-8, 80, 82—5; tonality and 4; twelve-tone techniques and 209; Ustvolskaya and 78 — String Quartet No. 1, Op. 49 71-2, 72, 73-5 — String Quartet No. 2, Op. 68 75-6, 16, 77-8, 88 —
String Quartet No. 5, Op. 92 78—9, 79, 80, 81 Shostakovich, Dmitri, works of: Bedbug, The, Op. 19 80, 86, 87, 90nl8; Lady Macbeth of the Mtsensk District, Op. 29 80, 85, 86; Nose, The, Op. 15 88; Piano Sonata No. 2, Op. 64 88; Six Romances on Texts by Japanese Poets, Op. 21 88; String Quartet No. 12, Op. 133 209; Symphony No. 1, Op. 10 88; Symphony No. 5, Op. 47 80, 82, 82, 83, 83, 84-5; Symphony No. 6, Op. 54 88; Symphony No. 10, Op. 93 87-8; Symphony No. 14 209; Twenty-Four Preludes for Piano, Op. 34 88; Violin Concerto No. 1, Op. 77 88; Violin Sonata, Op. 134 209 sintetakkord'i see synthetic chords Six Romances on Texts byJapanese Poets, Op. 21 (Shostakovich) 88 Soghomonian, Soghomon 91 solo song (romans) 13 sonata form: Mosolov and 135-6; Prokofiev and 54-5, 57, 59-66, 68 sonorità 20, 21 Soviet music: avant-garde and 132, 151; émigré composers 2-3; national style of 92—3, 109nl5; octatonicism and 151, 153n36; religious turn in 92—3; serial composition in 205-6, 208—9, 224, 261; Stalinism and 134; tonal composers 3; turn from abstraction 243; unofficial composers in 92-3; see also Russian music St. Matthew Passion (Bach) 165 Stockhausen, Karlheinz 92 Straus, Joseph 34 Stravinsky, Igor: anti-expressionist aesthetics 171; harmonic approaches of3; L’Histoire du soldat 159; influence on Lourié 156; musical analysis and 6; on music’s ontological time 157; Rite of Spring, The 38, 39, 40, 43—4, 164 String Quartet No. 1, Op. 49 (Shostakovich) see Shostakovich, Dmitri String Quartet No. 5, Op. 92 (Shostakovich) see Shostakovich, Dmitri String Quartet No. 8, Op. 59 (Myaskovsky)
49, 50 String Quartet No. 12, Op. 133 (Shostakovich) 209 Suite of Mirrors (Volkonsky) 206 Suvchinsky, Pyotr 157 Symphonic Variations (Franck) 35 Symphony No. 1, Op. 3 (Myaskovsky) 49 Symphony No. 1, Op. 10 (Shostakovich) 88 Symphony No. 1, Op. 42 (Tcherepnin) see Tcherepnin, Alexander Symphony No. 3, Op. 15 (Myaskovsky) 43 Symphony No. 4, Op. 17 (Myaskovsky) 45, 45
270 Index Symphony No. 5, Op. 18 (Myaskovsky) 42 Symphony No. 5 (Shostakovich) 82, 82, 83, 83, 84-5 Symphony No. 6, Op. 54 (Shostakovich) 88 Symphony No. 10, Op. 93 (Shostakovich) 87-8 Symphony No. 14 (Shostakovich) 209 synthetic chords (sintetakkordi) 113-14 Taruskin, Richard 5, 8, 89n5 Tchaikovsky, Pyotr Il’yich see Chaikovsky, Pyotr Il’yich Tcherepnin, Alexander: compositional practice of 187; nine-step scale and 4, 173-4, 174, 175-9, 187nl; nondiatonic compositional methods 173 — Symphony No. 1 in E, Op. 42: common tone relationships 181, 182, 183; hexatonic collection 181, 185; maestoso presentation 180, 180; ninestep scale and 173, 179—81, 183, 183, 184-7; recapitulation in 185; sonatarondo formin 179, 180, 187nl0; tonal centers and 183-4, 184; transitions in 180, 180, 181, 183, 185, 186 Technique de mon langage musicale (Messiaen) 174 Three Poems of Zinaida Gippius (Roslavets) see Roslavets, Nikolai Three Russian Songs, Op. 41 (Rachmaninoff) 14 timbre 190-2 Tlostanova, Madina 92, 107 tonality: directional 23-4, 27; mutability and 24; new directions in 2-3; piagai progression and 29nl3; Russian composers and 3-4; tonal duality and 13-14; see abo antitonic harmony; tonal pairing tonalpairing: cadence in 15; harmonic fonction and 13-14, 18-19; musical Romanticism and 14; Schenkerian analysis and 13-14, 19, 22-3; sonorità and 20 tonal-triadic progression classes (TTPCs) 44 Trois Études (Roslavets) 113 twelve-tone techniques: Bashmet monogram and 245; fonctional issues and 208-9; Schnittke and 5, 243-6; Soviet composers and 2, 4-5, 224, 243, 245; structural issues and
207, 214; unity and 222-4 lymoczko, Dmitri 38 Ustvolskaya, Galina: physicality of music and 4, 191; Shostakovich and 78; spirituality and 200; Symphony No. 6 191; timbre and vibration 190—2 — Composition No. 1: breathing and 200-1; decay of sound in 189, 191, 195, 198, 200-1; durations and 193, 198, 200-1; formal design of 192; intentional relaxation and 201; listener experiences of 199; melody and 199-200; musical-emotional aspects and 192, 199; musical “problem” and 192-3, 197; opening tuba solo 193, 193; pitch organization and 192-3, 194, 195, 198, 197, 198; propulsive sound and 192, 195, 195; timbre and vibration 189-92, 195, 196, 198-202; transpositions and 192, 195, 196 Vande Moortele, Steven 60, 68 Vardapet, Komitas 91 “Vesenniy veter” from Three Poems of Zinaida Gippius (Roslavets) 116-22 Violin Concerto No. 1, Op. 77 (Shostakovich) 88 Violin Sonata, Op. 134 (Shostakovich) 209 Volkonsky, Andrey: influence on Shostakovich 209; influence on Soviet composers 206, 209; multiple-row serialism and 205-6, 209, 224; Musica stricta 205—6, 207, 209, 222; Suite of Mirrors 206 Vorobyev, Igor 138 Wadsworth, Benjamin 19, 23—4 Wallmark, Zachary 190 “Water Lily” (Pleshcheyev) 14, 15 "Wáter Lily” Op. 8, No. 1 (Rachmaninoff) see Rachmaninoff, Sergey Webern, Anton 218, 244 Wilson, Edmund 155, 171 Zaklinaniya (Lourié) 160 “Zaklinan’ye” from Three Poems of Zinaida Gippius (Roslavets) 117, 122-6 Zuk, Patrick 51 Bayerische Staatsbibliothek München |
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| author2 | Bazayev, Inessa Segall, Christopher |
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| index_date | 2024-07-03T15:25:05Z |
| indexdate | 2024-07-10T08:57:02Z |
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| spelling | Analytical approaches to 20th-century Russian music tonality, modernism, serialism edited by Inessa Bazayev and Christopher Segall New York ; London Routledge, Taylor & Francis Group 2021 viii, 270 Seiten Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier "This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends across the past hundred years of Russian music. The chapters move by compositional style across the century and each address a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourié, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works, and a richer understanding of how to listen to and interpret their music"-- Geschichte 1900-2000 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf Music / Russia (Federation) / 20th century / History and criticism Music / Russia (Federation) / 20th century / Analysis, appreciation Music Russia (Federation) 1900-1999 Criticism, interpretation, etc (DE-588)4143413-4 Aufsatzsammlung gnd-content Russland (DE-588)4076899-5 g Komposition Musik (DE-588)4133320-2 s Musikalische Analyse (DE-588)4040814-0 s Geschichte 1900-2000 z DE-604 Bazayev, Inessa (DE-588)1036623467 edt Segall, Christopher (DE-588)1037836499 edt Erscheint auch als Online-Ausgabe, ebk. 978-1-00-300080-8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032312646&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032312646&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Analytical approaches to 20th-century Russian music tonality, modernism, serialism Musikalische Analyse (DE-588)4040814-0 gnd Komposition Musik (DE-588)4133320-2 gnd |
| subject_GND | (DE-588)4040814-0 (DE-588)4133320-2 (DE-588)4076899-5 (DE-588)4143413-4 |
| title | Analytical approaches to 20th-century Russian music tonality, modernism, serialism |
| title_auth | Analytical approaches to 20th-century Russian music tonality, modernism, serialism |
| title_exact_search | Analytical approaches to 20th-century Russian music tonality, modernism, serialism |
| title_exact_search_txtP | Analytical approaches to 20th-century Russian music tonality, modernism, serialism |
| title_full | Analytical approaches to 20th-century Russian music tonality, modernism, serialism edited by Inessa Bazayev and Christopher Segall |
| title_fullStr | Analytical approaches to 20th-century Russian music tonality, modernism, serialism edited by Inessa Bazayev and Christopher Segall |
| title_full_unstemmed | Analytical approaches to 20th-century Russian music tonality, modernism, serialism edited by Inessa Bazayev and Christopher Segall |
| title_short | Analytical approaches to 20th-century Russian music |
| title_sort | analytical approaches to 20th century russian music tonality modernism serialism |
| title_sub | tonality, modernism, serialism |
| topic | Musikalische Analyse (DE-588)4040814-0 gnd Komposition Musik (DE-588)4133320-2 gnd |
| topic_facet | Musikalische Analyse Komposition Musik Russland Aufsatzsammlung |
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