Intersections and Transpositions: Russian Music, Literature, and SocietyAndrew Wachtel Northwestern University Press, 1998 - Počet stran: 301 This collection serves as an introduction to the great variety of approaches being used by Slavicists and historians to situate music and literature in the Russian cultural imagination. Part I focuses on music in art. The nine essays in this section explore the complex interaction of literary and musical texts in the nineteenth and twentieth centuries. Contributors discuss such writers as Pushkin, Chekhov, and Pasternak, and composers including Musorgsky, Prokofiev, Shostakovich, and Blok. Part II centers on music in life. Its five essays address music as a cultural form, as presented and enjoyed in the home, the theater, and the opera house. This book provides a unique window on The musical, literary, and social interactions that have been typical of modern Russian culture.Contributing to this volume are Thomas P. Hodge, Caryl Emerson, Jennifer Fuller, Justin Weir, Alexander Burry, James Morgan, Andrew Baruch Wachtel, Tim Langen, Jesse Langen, Richard Stites, Ilya Vinitsky, Julie Buckler, Rosamund Bartlett, Boris Gasparov, Nicholas Glossop, and Amy Nelson. |
Obsah
Karamzin Pushkin | 20 |
An Examination of Folk Motifs | 33 |
Sonata Form in Chekhovs The Black Monk | 58 |
The Golden Cockerel between Realism and Modernism | 73 |
Prokofievs The Gambler | 90 |
Shostakovichs Adaptation of Gogol | 111 |
The Case of Shostakovich and Blok | 138 |
Temporal Counterpoint as a Principle of Formation | 165 |
Music at Home in the Twilight of Serfdom | 187 |
Signora Melas or An Italian Soprano in Russia | 206 |
The Kadmina Legend in Russian Literature | 225 |
The Theories | 253 |
On the Peculiarities of Soviet Rock and Roll | 274 |
Notes on Contributors | 299 |
Další vydání - Zobrazit všechny
Intersections and Transpositions: Russian Music, Literature, and Society Andrew Wachtel Náhled není k dispozici. - 1998 |
Běžně se vyskytující výrazy a sousloví
appears artistic bands become beginning Boris Borodin called cello century changes characters Chekhov's chorus Cockerel complete composer composition concert connection create critics cultural death discussion drama early elements example expressed fact final Glinka Gogol's Iavorsky's ideas important influence interest interpretation Italian Italy Ivan Kadmina later legend libretto lines literary literature lyric major material meaning Melas modal Moscow narrative nature never Nose novel opening opera original performance period person Petersburg play poem political present Press Prince Igor Prokofiev provides Pushkin references represents rhythm rock role Russian scene seems Shostakovich singing social song soprano sounds Soviet stage story structure style suggests Susanin tale theater themes theory tradition train translation Tsar turn University various voice Western writing Zhivago