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The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. -
«A Poet in Russia Is More Than a Poet»
«A poet in Russia is more than a poet» Sergei Alexandrovich Yesenin 1895 –1925 Мы теперь уходим We'll depart this world for понемногу ever, surely, Много дум я в тишине продумал, I have thought in silence days and hours, Много песен про себя сложил, I have written songs. And I don`t grieve. И на этой на земле угрюмой I am happy in this gloomy world of ours To have had a chance to breathe and live. Счастлив тем, что я дышал и жил Sergei Alexandrovich Yesenin And many people in his native country and abroad are captivated by his wonderful poems even now. His poetry was translated into 11 languages. He was incredibly gifted and talented. He also was handsome and very attractive for people. Everywhere women fell in love with him. He loved his country so deeply and passionately. He praised its beauty, nature, women in his beautiful poems. When I hear “Russia” I always have Yesenin in my mind – his photo or his poetry. He had “very Russian” character He was one of the most famous and loved poets of and was deeply devoted to Russia in the XX century. He had written poems for all his not too long life. He started to write when Russian nature. he was only nine. He couldn't help writing. Rhymes like a flock of birds always crowded in his mind. He had a great number of admirers of his talent. Sergei Alexandrovich Yesenin was born in Konstantinovo in the Ryazan region of the Russian Empire in a poor peasant family. -
Lyubov Orlova: Stalinism’S Shining Star,’ Senses of Cinema, Issue 23: the Female Actor, December 2002
Dina Iordanova, ‘Lyubov Orlova: Stalinism’s Shining Star,’ Senses of Cinema, Issue 23: The Female Actor, December 2002. Available: https://www.sensesofcinema.com/2002/the-female-actor/orlova/ Lyubov Orlova: Stalinism’s Shining Star Dina Iordanova Issue 23 A Lyubov Orlova filmography appears at the bottom of this article. A misguided assumption about Soviet cinema, which still persists, is that it’s a national cinema mostly comprised of depressing war dramas in which popular genres were neglected and even suppressed. This is certainly not the picture of Soviet cinema I remember when, 1 growing up in 1960s Bulgaria, I could enjoy a fair share of popular films, like the Soviet action-adventure Neulovimyye mstiteli/The Elusive Avengers (1966) or Yuri Nikulin’s superb comedies, all playing in theatres alongside the comedies of Louis de Funès or Raj Kapoor’s ever-popular weepy Awara/The Vagabond (1951). A highlight was Eldar Ryazanov’s musical, Karnavalnaya noch/Carnival Night (1956), with Lyudmila Gurchenko’s unforgettable dancing and singing. Made several years before I was even born, Carnival Night was so popular that by the time I started watching movies it was still regularly playing in theatres as well as being shown on television. Here, a buoyant and beautiful Lydmila Gurchenko leads a group of amateur actors to undermine the plans of the Culture Ministry and its boring leadership in order to turn a New Year’s Eve celebration into an exciting vibrant extravaganza, with confetti, sparklers and crackers. It was only later, in my teenage years when I started visiting the Sofia Cinémathèque, that I realized how Carnival Night in many aspects replicated Grigoriy Aleksandrov’s musical extravaganzas of the 1930s. -
LUISA MILLER Opera Company Stages Verdi’S Seldom-Performed Melodrama Saturday
Sandel: Equality is the key to the common good, Page B3 The Chautauquan Daily One Dollar Chautauqua, New York The Official Newspaper of Chautauqua Institution | Weekend Edition July 9 & 10, 2011 Volume CXXXV, Issue 13 LUISA MILLER Opera Company stages Verdi’s seldom-performed melodrama Saturday Josh Cooper | Staff Writer Photo | Ellie Haugsby ex, rivalry, secret identities, extor- tion, poisonings, sword fights and murder. Sound like a typical evening in Chautauqua? SThese may not be normal occurrences in this placid town, but Saturday is an excep- tion, as the melodrama of Giuseppe Verdi’s Luisa Miller explodes across the Amphithe- ater stage in operatic proportions. For one night only, the Chautauqua Opera Company will stage this rarely performed oeuvre of the 19th-century Italian composer. Verdi’s melodramma tragico in tre atti, as the librettist describes it, was first heard in Naples in 1849. It is based on the play of Friedrich von Schil- ler, “Kabale und Liebe,” which, loosely translated, means “Politics and Passion.” The story is full of over-the-top drama. Jay Lesenger, the Chautauqua Opera Com- pany’s artistic/general director, said the size of the story fits the size of the stage. “It’s larger than life,” Lesenger said. “I think that’s great for the Amphitheater because it’s a larger-than-life venue.” The Drama The scene is Tyrol, in what we now know as Austria, in the 1700s. Luisa is the daughter of a soldier, and she is in love with a man who the town knows as Carlo, but who is really Rodolfo, the son of the powerful Count Walter. -
Use Style: Paper Title
Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Study on the Constructivist Utopia of Vsevolod Meyerhold Vadim Shcherbakov Department for Research and Publication of Meyerhold‘s Legacy The State Institute for Art Studies Moscow, Russia E-mail: [email protected] Abstract—Meyerhold was always fascinated by the development and made an impact on acting. But more often concepts of art changing and creating life. He was deeply they represented examples of successful utilization of concerned by the Russians’ headfast unwillingness to obey the fashionable design. No matter how strongly the slow course of evolution. The director’s experiments in Constructivists struggled against the dogma of aesthetic establishing the performance as a mass meeting and his perception of an artwork as a value in itself, their creations concept of monumental revolutionary propaganda, as they had had obvious stylistic features that were able to exist been manifested in The RSFSR-1 Theatre, proved to be independently of their ideological concepts. The successful and convincing. Nevertheless, the Moscow Soviet constructivist art forms developed a fashion trend that lasted closed the theater. As Meyerhold trusted the party leaders he for a while, and theatre did not hesitate to make use of it. considered closing his theater a proof of the fact that the Soviet country was in no need of professional stage art. Thereby the Alexandre Tairov at the Kamerny Theatre did over a constructivist idea of art which aims to design life in dozen productions in association with artists who belonged accordance with artistic laws shows the way out of the impasse. -
Testimony of Ross A. Klein, Phd Before the Senate Committee on Commerce, Science, and Transportation Hearings on “Oversight O
Testimony of Ross A. Klein, PhD Before the Senate Committee on Commerce, Science, and Transportation Hearings on “Oversight of the Cruise Industry” Thursday, March 1, 2012 Russell Senate Office Building Room #253 Ross A. Klein, PhD, is an international authority on the cruise ship industry. He has published four books, six monographs/reports for nongovernmental organizations, and more than two dozen articles and book chapters. He is a professor at Memorial University of Newfoundland in St. John’s, Newfoundland, Canada and is online at www.cruisejunkie.com. His CV can be found at www.cruisejunkie.com/vita.pdf He can by contacted at [email protected] or [email protected] TABLE OF CONTENTS Oral Testimony 2 Written Testimony 4 I. Safety and Security Issues 4 Onboard Crime 5 Persons Overboard 7 Abandoning a Ship in an Emergency 8 Crew Training 9 Muster Drills 9 Functionality of Life-Saving Equipment 10 Shipboard Black Boxes 11 Crime Reporting 11 Death on the High Seas Act (DOHSA) 12 II. Environmental Issues 12 North American Emission Control Area 13 Regulation of Grey Water 14 Regulation of Sewage 15 Sewage Treatment 15 Marine Sanitation Devices (MSD) 15 Advanced Wastewater Treatment Systems (AWTS) 16 Sewage Sludge 17 Incinerators 17 Solid Waste 18 Oily Bilge 19 Patchwork of Regulations and the Clean Cruise Ship Act 20 III. Medical Care and Illness 22 Malpractice and Liability 23 Norovirus and Other Illness Outbreaks 25 Potable Water 26 IV. Labour Issues 27 U.S. Congressional Interest 28 U.S. Courts and Labor 29 Arbitration Clauses 30 Crew Member Work Conditions 31 Appendix A: Events at Sea 33 Appendix B: Analysis of Crime Reports Received by the FBI from Cruise Ships, 2007 – 2008 51 1 ORAL TESTIMONY It is an honor to be asked to share my knowledge and insights with the U.S. -
The University of Arizona
Erskine Caldwell, Margaret Bourke- White, and the Popular Front (Moscow 1941) Item Type text; Electronic Dissertation Authors Caldwell, Jay E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 10:56:28 Link to Item http://hdl.handle.net/10150/316913 ERSKINE CALDWELL, MARGARET BOURKE-WHITE, AND THE POPULAR FRONT (MOSCOW 1941) by Jay E. Caldwell __________________________ Copyright © Jay E. Caldwell 2014 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2014 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Jay E. Caldwell, titled “Erskine Caldwell, Margaret Bourke-White, and the Popular Front (Moscow 1941),” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________ Date: 11 February 2014 Dissertation Director: Jerrold E. Hogle _______________________________________________________________________ Date: 11 February 2014 Daniel F. Cooper Alarcon _______________________________________________________________________ Date: 11 February 2014 Jennifer L. Jenkins _______________________________________________________________________ Date: 11 February 2014 Robert L. McDonald _______________________________________________________________________ Date: 11 February 2014 Charles W. Scruggs Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. -
Asymmetric Warfare: Cold War Cinema in the Soviet Union and the United States
Andrey Shcherbenok Columbia University Asymmetric Warfare: Cold War Cinema in the Soviet Union and the United States In this paper, I will address the similarities and differences in the way Soviet and American cinema represented and, in the same move, waged the Cold War;1 in particular, I will consider how the enemy – the other side of the conflict – was portrayed. Although this portrayal varied considerably from film to film and from one historic period to another in both cinemas, I will try to demonstrate that it also reflected deeper and much more persistent ideological matrixes. This persistency allows me to claim that each side's Cold War films were not merely ad hoc propaganda statements designed to promote this or that expedient political agenda but also reflected fundamental differences in the way both countries conceptualized the global conflict. Despite the symmetry largely maintained by the two superpowers in military terms, on cinema screens the United States and the Soviet Union each waged its own very different Cold War. *** Richard Hofstadter argues in "The Paranoid Style of American Politics" that in the paranoid style of political thinking "the enemy is not caught in the toils of the vast mechanism of history, himself a victim of his past, his desires, his limitations. He is a free, active, demonic agent."2 This description applies very well to the way the Soviet enemy is portrayed in American films in the late 1940s and throughout the 1950s. The main characteristic of this enemy is the total absence of internal differences – Soviet government, Soviet Union as a nation, Russians as the people, former or current members of American Communists Party and other leftist organizations in the United States, are all portrayed as the units of the totality whose main and only goal is the total destruction of the free world and enslavement of freedom-loving Americans. -
The Pre-Revolutionary Folk Tale Character Archetypes in Grigori Aleksandrov's Four Musical Comedies, 1934 – 1940
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Trepo - Institutional Repository of Tampere University UNIVERSITY OF TAMPERE RIKU SALMIVUORI FROM BOYARS TO BUREAUCRATS: THE PRE-REVOLUTIONARY FOLK TALE CHARACTER ARCHETYPES IN GRIGORI ALEKSANDROV'S FOUR MUSICAL COMEDIES, 1934 – 1940 ___________________________________ School of Social Sciences and Humanities Master's thesis in history Tampere, 2014 University of Tampere School of Social Sciences and Humanities SALMIVUORI, RIKU: From Boyars to Bureaucrats: The Pre-revolutionary Folk Tale Character Archetypes in Grigori Aleksandrov's Four Musical Comedies, 1934 – 1940 Master's thesis, 138 pages. History February 2014 In my master's thesis I study the society of the 1930s Soviet Union through its film culture's relation to the pre-revolutionary folk culture's traditional tale telling. My aim is to find out how the pre- revolutionary culture was reflected in the films. On the one hand the study approaches this question through the official Soviet concepts of the 1930s: the attempt to build a “new society” and through education create a whole “new man”. On the other hand, it supposes that hundreds of years of folk tradition will not simply vanish by the politicians setting such ambitious political aims. Therefore the aim is to study the films, a popular tool of education and definitely a representative of the officially sanctioned culture, in order to find out what traces were left of the pre-revolutionary culture in them and how they were used in the films. The conclusions drawn on this small sample can further be used to consider what actually was new in the new society and the new man. -
Jindřich Honzl's Texts on Acting
(III) Personalities and Methodologies of the Prague School Martina Musilová Jindřich Honzl’s Texts on Acting – Between Convention and Spontaneity In this paper, I will deal with two concepts that have opposite meanings, convention and spontaneity, and the transformations of their definitions in Jindřich Honzl’s theoretical texts. In my view, understanding these transformations is crucial for grasping the use of these two concepts in Honzl’s texts on acting, especially in his studies from the late 1940s – “Mimic Sign and Mimic Symptom”1 (Mimický znak a mimický příznak, 1947–1948), “Actor’s Inspiration” (Herecká inspirace, 1947–1948) and “The Definition of the Mimics” (Definice mimiky, 1946–1947). In these studies, Honzl puts the term ‘convention’ against the term ‘spontaneity’ and this contradiction is their central idea. But we can also find two different concepts of sponta- neity here – Honzl uses the first to describe spontaneity based on psychology, which he 02 attributes to Stanislavski’s system, and the second is spontaneity that arises from an actor’s 2014 body, which is a concept of spontaneity inspired by surrealism. It provokes us to ask a basic question – how does Honzl understand the terms ‘spontaneity’ and ‘convention’? Thorough research of Honzl’s use of these terms in his theoretical studies over twenty years not only shows that both terms were interpreted by Honzl in different ways, but also an artistic change within Honzl’s approaches. Metaphorically speaking these changes show us ‘the dynamics of the meaning’ in Honzl’s theoretical thinking. This dynamism was not only determined by Honzl’s artistic development but also by his political attitudes. -
Kabalevsky Was Born in St Petersburg on 30 December 1904 and Died in Moscow on 14 February 1987 at the Age of 83
DMITRI KABALEVSKY SIKORSKI MUSIKVERLAGE HAMBURG SIK 4/5654 2 CONTENTS FOREWORD by Maria Kabalevskaya ...................... 4 VORWORT ....................................... 6 INTRODUCTION by Tatjana Frumkis .................... 8 EINFÜHRUNG .................................. 10 AWARDS AND PRIZES ............................ 13 CHRONOLOGICAL LIST OF WORKS .............. 15 SYSTEMATIC INDEX OF WORKS Stage Works ..................................... 114 Orchestral Works ................................. 114 Instrumental Soloist and Orchestra .................... 114 Wind Orchestra ................................... 114 Solo Voice(s) and Orchestra ......................... 115 Solo Voice(s), Choir and Orchestra .................... 115 Choir and Orchestra ............................... 115 Solo Voice(s), Choir and Piano ....................... 115 Choir and Piano .................................. 115 Voice(s) a cappella ................................ 117 Voice(s) and Instruments ............................ 117 Voice and Piano .................................. 117 Piano Solo ....................................... 118 Piano Four Hands ................................. 119 Instrumental Chamber Works ........................ 119 Incidental Music .................................. 120 Film Music ...................................... 120 Arrangements .................................... 121 INDEX Index of Opus Numbers ............................ 122 Works Without Opus Numbers ....................... 125 Alphabetic Index of Works ......................... -
Russian and Soviet Cinema Until 1948 Instructor: Alec Brookes, [email protected] Office Hours: MWF 1-2Pm, Tu 12-2Pm, Or by Appointment
Russ3003: Russian and Soviet Cinema Until 1948 Instructor: Alec Brookes, [email protected] Office Hours: MWF 1-2pm, Tu 12-2pm, or by appointment RUSS3003 Russian and Soviet Cinema Until 1948 Fall 2016, MWF 10-10:50, A1049 Screenings: Fridays 3pm-5pm A1046 “Cinema is an art of illusion, yet it dictates its laws to life itself.” Joseph Stalin Beginning with the origins of film in Russia in the late imperial era, this course proceeds to follow the development of film in Russia and the Soviet Union, which played a crucial role in the Soviet Union and the life of its people between 1917 and 1948, an era that included a communist revolution, civil war, the rise of fascism in Europe, and the Second World War. Besides close formal analysis of the screened films, we will discuss the shifting artistic, cultural, historical, and ideological contexts in which these films were made, and their enduring relevance in current Russian and global contexts. All movies will be screened with English subtitles. All screenings are optional but recommended. Films will be placed on reserve at the QEII Library for review and/or are available on the internet, in which case links will be provided on d2l. Course Objectives This course aims to familiarize students with Russian and Soviet film until the death of director Sergei Eisenstein in 1948, with emphasis on films from the twenties and thirties. We will develop a robust way of talking about film in its own terms, and develop a way of understanding the reciprocal relationship between film and their contexts.