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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. -
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
A Tribute to the Mighty Handful the Russian Guitar Quartet
A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music. -
Nov 23 to 29.Txt
CLASSIC CHOICES PLAYLIST Nov. 23 - Nov. 29, 2020 PLAY DATE: Mon, 11/23/2020 6:02 AM Antonio Vivaldi Concerto for Viola d'amore, lute & orch. 6:15 AM Wolfgang Amadeus Mozart Divertimento for Winds 6:29 AM Georg Muffat Sonata No.1 6:42 AM Marianne Martinez Sinfonia 7:02 AM Georg Philipp Telemann Concerto for 2 violas 7:09 AM Ludwig Van Beethoven Eleven Dances 7:29 AM Henry Purcell Chacony a 4 7:37 AM Robert Schumann Waldszenen 8:02 AM Johann David Heinichen Concerto for 2 flutes, oboes, vn, string 8:15 AM Antonin Reicha Commemoration Symphony 8:36 AM Ernst von Dohnányi Serenade for Strings 9:05 AM Hector Berlioz Harold in Italy 9:46 AM Franz Schubert Moments Musicaux No. 6 9:53 AM Ernesto de Curtis Torna a Surriento 10:00 AM Wolfgang Amadeus Mozart Rondo for horn & orch 10:07 AM Wolfgang Amadeus Mozart Divertimento No. 3 10:21 AM Wolfgang Amadeus Mozart Piano Sonata 10:39 AM Wolfgang Amadeus Mozart Allegro for Clarinet & String Quartet 10:49 AM Wolfgang Amadeus Mozart Divertimento No. 8 11:01 AM Aaron Copland Appalachian Spring (Ballet for Martha) 11:29 AM Johann Sebastian Bach Violin Partita No. 2 12:01 PM Bedrich Smetana Ma Vlast: The Moldau ("Vltava") 12:16 PM Astor Piazzolla Tangazo 12:31 PM Johann Strauss, Jr. Artist's Life 12:43 PM Luigi Boccherini Flute Quintet No. 3 12:53 PM John Williams (Comp./Cond.) Summon the Heroes 1:01 PM Ludwig Van Beethoven Piano Trio No. 1 1:36 PM Margaret Griebling-Haigh Romans des Rois 2:00 PM Johann Sebastian Bach Konzertsatz (Sinfonia) for vln,3 trpts. -
Musically Russian: Nationalism in the Nineteenth Century Joshua J
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by 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]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis. -
Transcultural Representation Of
TRANSCULTURAL REPRESENTATION OF CIRCASSIAN MUSIC IN MILY BALAKIREV’S ISLAMEY: ORIENTAL FANTASY (1869) BY ANASTASSIA GRANKINA Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for Master’s of Arts degree in Musicology Department of Music Faculty of Arts University of Ottawa © Anastassia Grankina, Ottawa, Canada, 2015 TABLE OF CONTENTS TABLE OF CONTENTS…………………………………………………………………………ii ABSTRACT……………………………………………………………………………………...iv ACKNOWLEDGEMENTS………………………………………………………………………v INTRODUCTION ...........................................................................................................................1 Chapter Outline ............................................................................................................................3 CHAPTER 1: Said’s theory: Orientalism as a European construct and the image of Circassians as constructed by the Russian Empire .................................................................................................5 Edward Said and Orientalism ....................................................................................................6 Application of Said’s theory to the fields of literature and history and Said’s limitations in his own work on Orientalism……………………………………………………………………..15 “Western” representations of the Orient in the literary studies……………………….15 Reconsideration of Europe’s textual representation of the foreign lands as part of colonial history………………………………………………………………………...18 Orientalism and Gender: Said’s -
Understanding the Cultural and Nationalistic Impacts of the Moguchaya Kuchka
Musical Offerings Volume 10 Number 2 Fall 2019 Article 1 10-7-2019 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Diplomatic History Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, Music Theory Commons, and the Russian Literature Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Doub, Austin M. (2019) "Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka," Musical Offerings: Vol. 10 : No. 2 , Article 1. DOI: 10.15385/jmo.2019.10.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol10/iss2/1 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Document Type Article Abstract This paper explores Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the moguchaya kuchka, or The Mighty Five, sought to influence Russian culture and develop a "pure" school of Russian music amid rampant westernization. Comprised of César Cui, Alexander Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov, this group of inspired musicians opposed westernization and supported Official Nationalismy b the incorporation of folklore, local village traditions, and promotion of their Tsar as a supreme political leader. -
Songs of the Mighty Five: a Guide for Teachers and Performers
SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
28-03 Noseda.Indd
Thursday 28 March 2019 7.30–9.30pm Barbican LSO SEASON CONCERT RUSSIAN ROOTS Rachmaninov Piano Concerto No 2 Interval SHOST Balakirev arr Casella Islamey Shostakovich Symphony No 1 Gianandrea Noseda conductor Seong-Jin Cho piano OVICH Streamed live at youtube.com/lso and on medici.tv Welcome Latest News On Our Blog Shostakovich’s First Symphony completes OUR 2019/20 SEASON ORA SINGERS LAUNCH RESIDENCY AT the concert, an early work by the prodigious LSO ST LUKE’S teenage composer which, at its 1926 premiere, The LSO’s 2019/20 season is now on sale. promised one of the most prolific and varied Sir Simon Rattle continues his exploration of Suzi Digby, music director of the ORA Singers, careers of any symphonic composer. the roots and origins of music, including a explains how the choir launched their Design look back to the influence of Beethoven in Series – collaborating with stage designer At tonight’s concert we welcome the LSO’s his 250th anniversary year and a focus on Nicky Shaw earlier this month – and discusses wide family of generous supporters, so how folk music inspired Bartók and Percy how government funding has given rise to that members of the Orchestra can thank Grainger. François-Xavier Roth conducts a significant revival of singing in schools. them personally for their commitment to complementary programmes of Bartók our work. I add my thanks to theirs – you and Stravinsky, while Gianandrea Noseda elcome to tonight’s LSO concert make our achievements possible and we continues his survey of Russian works. WATCH THE LSO ON YOUTUBE at the Barbican. -
Russian Musical Elements: an Analysis of Selected Piano Works by Mily Balakirev (1837-1910)
Russian Musical Elements: An Analysis of Selected Piano Works by Mily Balakirev (1837-1910) Item Type text; Electronic Dissertation Authors Beriyeva, Yelizaveta 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:12:29 Link to Item http://hdl.handle.net/10150/636638 RUSSIAN MUSICAL ELEMENTS: AN ANALYSIS OF SELECTED PIANO WORKS BY MILY BALAKIREV (1837-1910) by Yelizaveta Nikolayevna Beriyeva __________________________ Copyright © Yelizaveta Nikolayevna Beriyeva 2019 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 2 3 ACKNOWLEDGEMENTS I would like to express my profound gratitude to my advisor and committee chair, Professor Tannis Gibson for her patience, encouragement, continuous guidance, generosity, as well as providing me with support and the necessary tools to make this project possible. I will be forever grateful to spending so much of my professional school life with Professor Gibson. She has always been supportive during the most challenging times. I would like to express deep appreciation to the other two members of my graduate committee, Dr. Rex Woods and Dr. Jay Rosenblatt for their supportive assistance and insightful comments. They have been so very kind and generous with their time and endless desire to help me through this exciting journey. -
The Mighty Handful!
Tasmanian Symphony Orchestra Presents Symphonic Superstars The Mighty Handful! Teacher Resource Booklet Prepared by Christine Alcock, Kim Allen, Angela Chapman, Jenny Compton, Jenny Johnston and Dianne O’Toole With generous support from ©2017 Tasmanian Symphony Orchestra Pty Ltd Table of Contents CONCERT PROGRAM ............................................................................................................................... 1 THE PERFORMERS ................................................................................................................................... 2 Tasmanian Symphony Orchestra ........................................................................................................ 2 Luke Spicer conductor ......................................................................................................................... 3 Christopher Lawrence presenter ......................................................................................................... 4 ABOUT THE MUSIC .................................................................................................................................. 5 BACKGROUND ..................................................................................................................................... 5 TEACHING IDEAS ..................................................................................................................................... 7 THE RUSSIAN REMIX .......................................................................................................................... -
Confrontando O Racismo E O Sexismo No Campo Da Teoria Da Música Americano1
A Estrutura Racial Branca do Campo da Teoria da Música: Confrontando o Racismo e o Sexismo no campo da Teoria da Música Americano1 Philip Ewell (Professor Associado de Teoria da Música e Diretor dos Cursos de Pós-Graduação em Música do Hunter College, City University of New York) Email: [email protected] Tradução: Vincenzo Cambria, Pedro Fadel, Priscilla Hygino, Ferran Tamarit Rebollo, Daniel Stringini e Paulo Dantas Escrevi os seguintes seis posts após a minha palestra plenária, “A estrutura racial branca do campo da Teoria da Música”, no Encontro Anual da Sociedade de Teoria da Música em novembro de 2019. Após aquela palestra fiquei impressionado com a reação. Centenas de pessoas do mundo inteiro se manifestaram para me agradecer por levantar as questões que levantei. Posteriormente tive longas conversas com colegas mais velhos no campo, mas, apesar das boas intenções manifestadas, percebi que na realidade não estavam interessados em uma verdadeira mudança estrutural antirracista e antissexista. Esses seis posts surgiram dessas conversas e do trabalho que fiz antes da minha palestra. Espero que possam instigar um diálogo construtivo para que possamos iniciar a realizar uma verdadeira mudança antirracista/antissexista no campo da teoria da música. É melhor ler os posts na ordem. Aproveitem! 1 - O Mito da Neutralidade Racial e de Gênero no campo da Teoria Musical Me voltei ao trabalho acadêmico sobre questões raciais por causa de dois acontecimentos fortuitos. Em 2014-2016, como professor assistente não efetivo, me engajei em uma batalha angustiante e dolorosa para conseguir ser recontratado e, então, ser efetivado e promovido no Hunter College, CUNY, na cidade de Nova York.