RUS/ART/LIT/SOC/HIS/POL/ECO 381 Russian Studies Seminar
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Supplementary Information For
1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows. -
The Russian Revolution: a Wider Perspective
- THE RUSSIAN REVOLUTION: A WIDER PERSPECTIVE PREFACE to the Source Collection on the Russian Revolution This is a collection of sources provided by members of the Euroclio network and curated by three members of the Historiana team. It Insert Source here: is not a comprehensive overview of the Russian Revolution. Its purpose is to provide some insights into how politicians, diplomats, senior military officers, other officials, revolutionaries, eye witnesses, bystanders, newspaper editors and journalists, ordinary people and even children perceived some of the key events in Russia from January 1917 through to December 1922. We hope that this transnational and multiperspective collection will widen students’ understanding of what happened in Russia in those critical years. The sources have been provided by history teachers and historians from 13 countries, including the Russian Federation, neighbouring states that in 1917 were part of the Russian Empire, states that were then allies or enemies of Russia and even states which were neutral non-combatants in 1917. To obtain these sources the contributors turned to their own national digital and physical archives. Where necessary, contributors summarised texts in English. Painting by British artist David For EUROCLIO this was a pilot experiment in collecting historical Jagger, entitled The Bolshevik sources and we are very grateful to everyone who took part. We (1918). The image combines the think the experiment was successful and EUROCLIO will be planning features of several Bolshevik further crowd-sourcing of collections on other significant moments leaders. and developments in world history in the future. Source: Canadian War Museum Bob Stradling, Louise Sträuli and Giulia Rossi Public Domain Summer 2019 THE HISTORICAL CONTEXT This collection is divided into four Introductionsections. -
On Russian Music Might Win It
37509_u01.qxd 5/19/08 4:04 PM Page 27 1 Some Thoughts on the History and Historiography of Russian Music A preliminary version of this chapter was read as a paper in a symposium or- ganized by Malcolm H. Brown on “Fifty Years of American Research in Slavic Music,” given at the fiftieth national meeting of the American Musicological Society, on 27 October 1984. The other participants in the symposium and their topics were Barbara Krader (Slavic Ethnic Musics), Milos Velimirovic (Slavic Church Music), Malcolm H. Brown (Russian Music—What Has Been Done), Laurel Fay (The Special Case of Soviet Music—Problems of Method- ology), and Michael Beckerman (Czech Music Research). Margarita Mazo served as respondent. My assigned topic for this symposium was “What Is to Be Done,” but being no Chernïshevsky, still less a Lenin, I took it on with reluctance. I know only too well the fate of research prospectuses. All the ones I’ve seen, whatever the field, have within only a few years taken on an aspect that can be most charitably described as quaint, and the ones that have attempted to dictate or legislate the activity of future generations of scholars cannot be so charitably described. It is not as though we were trying to find a long- sought medical cure or a solution to the arms race. We are not crusaders, nor have we an overriding common goal that demands the subordina- tion of our individual predilections to a team effort. We are simply curious to know and understand the music that interests us as well as we possibly can, and eager to stimulate the same interest in others. -
The Russian Five Austin M
Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera. -
Elizabeth Joy Roe, Piano
The John F. Kennedy Center for the Performing Arts STEPHEN A. SCHWARZMAN , Chairman MICHAEL M. KAISER , President TERRACE THEATER Saturday Evening, October 31, 2009, at 7:30 presents Elizabeth Joy Roe, Piano BACH/SILOTI Prelude in B minor CORIGLIANO Etude Fantasy (1976) For the Left Hand Alone Legato Fifths to Thirds Ornaments Melody CHOPIN Nocturne in C-sharp minor, Op. 27, No. 1 WAGNER/LISZT Isoldens Liebestod RAVEL La Valse Intermission MUSSORGSKY Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries The Ox-Cart Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade The Market at Limoges (The Great News) The Catacombs With the Dead in a Dead Language Baba-Yaga’s Hut The Great Gate of Kiev Elizabeth Joy Roe is a Steinway Artist Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. Notes on the Program By Elizabeth Joy Roe Prelude in B minor Liszt and Debussy. Yet Corigliano’s etudes JOHANN SEBASTIAN BACH ( 1685 –1750) are distinctive in their effective synthesis of trans. ALEXANDER SILOTI (1863 –1945) stark dissonance and an expressive landscape grounded in Romanticism. Alexander Siloti, the legendary Russian pianist, The interval of a second—and its inversion composer, conductor, teacher, and impresario, and expansion to sevenths and ninths—is the was the bearer of an impressive musical lineage. connective thread between the etudes; its per - He studied with Franz Liszt and was the cousin mutations supply the foundation for the work’s and mentor of Sergei Rachmaninoff. -
2004/1 (7) 1 Art on the Line
Art on the line A Russian kaleidoscope: shifting visions of the emergence and development of art criticism in the electronic archive Russian Visual Arts, 1800–1913 Carol Adlam Department of Russian, School of Modern Languages, University of Exeter, Queen’s Drive, Exeter EX2 4QH, UK [email protected] Alexey Makhrov Department of Russian, School of Modern Languages, University of Exeter, Queen's Drive, Exeter, EX4 4QH, UK and independent researcher, Switzerland [email protected] 1 Origins notes on major art critics of the period under The project Russian Visual Arts, 1800–1913 consideration, new editorial and translators’ as it appears today at the Humanities notes, and a glossary. The project also pro- Research Institute at the University of Sheffield vides details of on-going research activity in (http://hri.shef.ac.uk/rva*) is the result of three the field: these include the work of various years of AHRB-funded labour (2000–2003) by team members in writing articles, delivering a team of individuals from the Universities of papers and also running a commemorative Exeter and Sheffield, the British Library, and conference at the University of Exeter in the National Library of Russia.1 Russian Visual September 2003 (Art Criticism, 1700–1900: Arts, 1800–1913 is a compendious electronic Emergence, Development, Interchange in archive consisting of four sub-archive areas: a Eastern and Western Europe). textbase of approximately 100 primary texts, in There were several sources of inspiration Russian and in many cases in English transla- -
Russian Arts on the Rise
Arts and Humanities Open Access Journal Proceeding Open Access Russian arts on the rise Proceeding Volume 2 Issue 1 - 2018 The fifth Graduate Workshop of the Russian Art and Culture Miriam Leimer Group (RACG) once again proofed how vivid the art and culture of Free University of Berlin, Germany Russia and its neighbours are discussed among young researchers. th Though still little represented in the curricula of German universities Correspondence: Miriam Leimer, 5 Graduate Workshop of the Russian Art and Culture Group (RACG), Free University of the art of Eastern Europe is the topic of many PhD theses. But also in Berlin, Germany, Email [email protected] a broader international context-both in the East and the West-Russian art has gained importance in the discipline of art history. Received: December 22, 2017 | Published: February 02, 2018 The Russian Art and Culture Group that was founded in 2014 by Isabel Wünsche at Jacobs University Bremen provides an international platform for scholars and younger researchers in this The second panel “Intergenerational Tensions and Commonalities” field. At least once a year members of the group organize a workshop focused on the relation between the representatives of the different to bring together recent research-mostly by PhD candidates as well as succeeding art movements at the turn of the century. Using the by already well-established academics. example of Martiros Saryan, an Armenian artist, Mane Mkrtchyan from the Institute of Arts at the National Academy of Sciences of For the first time the workshop did not take place in Bremen the Republic of Armenia shed light on Russia’s Symbolism. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
What Is to Be Done? Discussions in Russian Art Theory and Criticism I
WHAT IS TO BE DONE? DISCUSSIONS IN RUSSIAN ART THEORY AND CRITICISM I 6th Graduate Workshop of the RUSSIAN ART & CULTURE GROUP September 20th, 2018 | Jacobs University Bremen Cover: Nikolai Chernyshevsky, Manuscript of his novel “Что делать?” [What Is to be Done?] (detail), 1863; and Ivan Kramskoi, Христос в пустыне [Christ in the Desert] (detail), 1872, Tretyakov Gallery Moscow. WHAT IS TO BE DONE? DISCUSSIONS IN RUSSIAN ART THEORY AND CRITICISM I The sixth graduate workshop of the Russian Art & Culture Group will focus on main tendencies in Russian art theory of the 18th, 19th and early 20th centuries. Therefore, responses to the question What Is to Be Done? (Что делать?) in academic circles as well as by art critics, writers, impresarios, and other members of the Russian intelligentsia shall be explored. 2 | PROGRAM 6th Graduate Workshop of the Russian Art & Culture Group Jacobs University Bremen, Campus Ring 1, 28759 Bremen, Lab 3. PROGRAM THURSDAY, SEPTEMBER 20TH 10.30 Opening: Welcome Address Prof. Dr. Isabel Wünsche, Jacobs University Bremen Panel I: The Academy and Its Opponents Chair: Tanja Malycheva 11.00 Russian Pensionnaires of the Imperial Academy of Arts in Venice in the Second Half of the 18th Century Iana Sokolova, University of Padua 11.30 Escape from the Academy: Why Russian Artists Left St. Petersburg and Moved to Munich at the End of the 19th Century Nadezhda Voronina, Ludwig-Maximilians-Universität, Munich 12.00 A Critic’s Tale by Vladimir Stasov Ludmila Piters-Hofmann, Jacobs University Bremen 12.30 Lunch Break (not included) Panel II: New Approaches and Aesthetic Norms Chair: Ludmila Piters-Hofmann 14.00 The Discussion of the Protection of the Russian Cultural Heritage in Russian Art Journals at the End of the 19th / Beginning of the 20th Century Anna Kharkina, Södertörn University 14.30 Pre-Raphaelites and Peredvizhniki: Pathosformel and Prefiguration in the 20th Century Marina Toropygina, Russian State Institute for Cinematography (VGIK) PROGRAM |3 15.00 “Colors, Colors .. -
Development Trends of the Modern Philology
DEVELOPMENT TRENDS OF THE MODERN PHILOLOGY Collective monograph Lviv-Toruń Liha-Pres 2019 Reviewers: dr Adam Wróbel, School of Polish Language and Culture of Cuiavian University in Wloclawek (Republic of Poland); mgr Joanna Skiba, Director of the Center for Foreign Languages, Cuiavian University in Włocławek (Republic of Poland). Development trends of the modern philology : collective monograph / D. Ch. Chyk, I. I. Dmytriv, P. V. Ivanyshyn, N. V. Maftyn, etc. –Lviv-Toruń : Liha-Pres, 2019. – 240 p. ISBN 978-966-397-140-7 Liha-Pres is an international publishing house which belongs to the category „C” according to the classification of Research School for Socio-Economic and Natural Sciences of the Environment (SENSE) [isn: 3943, 1705, 1704, 1703, 1702, 1701; prefixMetCode: 978966397]. Official website – www.sense.nl. ISBN 978-966-397-140-7 © Liha-Pres, 2019 ii CONTENTS THE PROSE DISCOURSE OF UKRAINIAN LITERATURE OF THE LATE 18TH TO MID-19TH CENTURIES: THE PROBLEM OF CANON FORMATION Chyk D. Ch. .............................................................................................................. 1 THE LITURGICAL SONGS IN CREATIVE WORK OF BOHDAN-IGOR ANTONYCH Dmytriv I. I. ............................................................................................................ 21 THE MEANING OF THE KNIGHT RANK OF IVAN GONTA IN “HAYDAMAKS” BY TARAS SHEVCHENKO: HERMENEUTICAL-COMPARATIVE ASPECT Ivanyshyn P. V. ...................................................................................................... 41 “PHILOSOPHY OF