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The genre system of early Russian hymnography : the main stages and principles of its formation
2018
The Church has always been at the very centre of Russian life. Its opulence, rich ceremony and mystery illuminate the pages of the books of L. Tolstoy, F. Dostoyevsky and B. Pasternak. They resound in the music of M. Glinka, M. Mussorgsky, P. Tchaikovsky and S. Rachmaninov.1 For centuries it has been and still is an extraordinary source of strength and unity for the Russian people, and a great support in difficult periods of Russian history. Russia inherited Orthodoxy from Byzantium, both its complete theology and its entire liturgical rite. The forms of ‘philosophical speculation’ and ‘practical theology’ that proved most acceptable to the Christians of Ancient Rus’ were those of religious art, committed as they were to the creation of visible and audible representations of the celestial world, an image on earth of God’s life. This is the true essence of old Russian church architecture, icon painting and hymnography. Indeed, the exterior shape of the church is full of symbolic elem...
Musicology Today. Musicology Journal of the National University of Music Bucharest, 2020
By examining piano cahiers Ms.R. 2663 and Ms.R. 2575 from 1820 to 40, preserved in the Romanian Academy’s Music Cabinet, in this paper I set out to illustrate the musical tastes of the Romanian elite during the period and how they shifted. I have examined samples from the favourite repertoire of dilettantes from Bucharest and Jassy, tracing aesthetic choices as they related to the particularities of urban society: ethnic pluralism, immigration, and westernisation.
In: Ardian Ahmedaja (ed.): European Voices III. The Instrumentation and Instrumentalization of Sound. Local Multipart Music Cultures and Politics in Europe. Vienna: Boehlau, 2017, pp. 263-292. ISBN: 978-3-205-20513-5, 2017, 2017
Abstract Folk music revival movements represent a social and artistic phenomenon in their own right. As a rule they refer to rural musical practices of the remote or recent past. Some revival movements take only single expressive elements of high symbolic value from the corresponding reference culture, while others try to achieve maximal histori- cal accuracy and authenticity of musical style. To a considerable degree, revival ensembles can differ from recent or historical music practice in instrumentation and musical texture. Due to the representative func- tions of some revivalist formations or to ideals of participation, the number of the musicians is usually higher than in the reference culture. However, in the 20th century a reverse trend towards comparatively small ensembles can be observed. Sonic ideals of revival movements and claims to historical accuracy can come into conflict with the corresponding social settings and their egalitarian orientation. Thus, for example, drone instruments like bagpipes and hurdy-gurdies, enjoy high priority in many revival ensembles, be it for the attractiveness of their specific sonic qualities or to the strong but doubtful association with archaism. In actual practice they are frequently combined with popular instruments such as guitars and accordions which provide chordal-harmonic support. Nevertheless, the most distinguished bagpipers and hurdy-gurdy players prefer to perform solo or in small ensembles without a con- stant harmonic texture, setting off the beauty of these most demanding instruments.
Introduction: Tsarist Russia and the Musical World
Nineteenth-Century Music Review, 2023
The articles in this issue address and illustrate elements that are essential for furthering the current understanding of Russia's embeddedness in the international musical culture of the long nineteenth century: the exchange of musicians and repertoires; the social and political conditions in which these exchanges took place; the range of mediators, from aristocratic patrons to musical professionals; the methods of movement; and the ways in which Russia was imagined and experienced by foreigners.
Tsarist Russia and the Musical World
Nineteenth-Century Music Review
The contents of this themed issue were complete, reviewed and accepted well before Russia launched its full-scale invasion of Ukraine on 24 February 2022. We recognize that perceptions of Russian culture, nationalism and transnational connections will have changed substantially as a result of the war and that writing about Russia's position in the world may now carry painful associations. This issue is in no way intended as a commentary on contemporary events. Firm in the belief that there is worth in historical research that challenges and decentres nationalist mythologies, we have decided to publish our texts in their original form.
Nikolai Medtner: Music, Aesthetics, and Contexts
2021
The publication of the present volume marks the 70th anniversary of the death of the Russian composer-pianist Nikolai Medtner (1880–1951). It is the first scholarly collection in the English language that is fully dedicated to Medtner’s life and work. Its twelve contributions offer a variety of approaches to his biography and music, ranging from analyses and interpretive studies to hermeneutical contexts, and including many insights into his aesthetic thought. In four sections grouped by musical genre, the articles explore Medtner’s solo piano music, vocal music, and piano concertos, as well as general aspects of his personal relationships and teaching. Among the authors are scholars and musicians from a variety of countries, applying concepts from Eastern and Western musicology, music theory, and performance studies—just as musical traditions of the East and West are simultaneously represented in Medtner’s music.
Sociocultural Crossings and Borders: Musical Microhistories
Focusing on the region of the Baltic countries and other neighbouring countries in Central and Eastern Europe, this collection continues the discussion concerning the sociocultural crossings and borders within the musical practices and discourses from early modernity up to the present day. The publication comprises of texts that have been prepared on the basis of reports delivered at the international conference “Sociocultural crossings and borders: musical microhistories.” (Vilnius, 2013) They represent the cultural diversity of European musicological traditions, the interdisciplinary character of present-day musicology, as well as the methodologies and theories within musicology, ethnomusicology, and music theory.