Rimsky Korsakov Differences

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

Good Afternoon Ladies and Gentlemen of the Multi-cultural convention, I have been selected to address the statement, “The Language used by composers has the ability to present responders with opportunities to challenge their perception of self and the world”. I will be doing so by closely analysing the language used by Komninos in ‘Hillston Welcome’ and ‘Back to Melbourne’ and John

Ensemble Vagabond’s debut performance of The Rite of Spring changed the history of Igor Stravinsky’s outrageous ballet. Arranged for Winds and Piano, Peter Facer has taken this momentous piece to an entirely new level. With the Callaway Music Auditorium at maximum capacity, Vagabond strode confidently onstage to roaring applause to give the performance of a lifetime.

Hadji Murat, Tolstoy's second book with the Caucasus as its setting can be considered a work of historical fiction that is a beautiful tale of resistance, and a window into not only the Caucasian War of the mid-nineteenth century, but also the culture of the Russian Empire during this period. As a work of fiction the reader must be wary of depictions of actual persons such as Tsar Nicholas I, whom Tolstoy was not enamored with, to say the least, but many insights about the period and its people can be gleaned from the story. The novel is one of great contrasts between Chechens and Russians and also of what life was like during this time.

During the latter part of his life, rumors emerged of Tchaikovsky being a homosexual. This effected how his works were received, mainly in the Western part of the world. According to Poznansky, “His music began to be criticized as sentimental, romantically excessive, charged with many imperfections and even pathological” (Poznansky, 2012). It is now known that although Tchaikovsky was married to Antonina Miliukova in July 1877, their marriage lasted less than three months. Tchaikovky admits to having homosexual escapades in 1861 and even to falling in love with a student, Losif Kotek. It is quite obvious that these events have no bearing on the popularity of his work now.

Claude Debussy was a leading composer of the early twentieth century known for his impressionistic style and use of non-traditional scales and tonalities as well as chromaticism. Debussy’s Book of Preludes are some of his most well-known and last works for solo piano. Prelude 10, titled “Canope” in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city and Egyptian burial urns. Although only thirty-three measures long, and melodically and rhythmically simple, this piece is harmonically complex and dauntingly beautiful. Several small sections make up the form of this piece. By comparing each section based on musical elements such as melody, harmony, rhythm, and texture, and by analyzing elements of 20th century music, such as pitch centricity and reference collections, we will have a better understanding of this work and how it tells the story of an ancient world.

Shostakovich’s compositions were literally a matter of life or death. Under Soviet rule, composers whose work was not seen as towing the party line could be liquidated, a fate met by many of his colleagues. One of these cases was a Jewish friend of his, actor Solomon Mikhoels, and he feared the same would happen to him. Despite his need for perfection, Shostakovich was known to write at an astonishing speed, and his Festive Overture was no exception. One of his most popular pieces, Festive Overture was written for a concert in November 1954 for the 37th anniversary of the Russian Revolution. The story behind its creation is quite astonishing; Shostakovich was visited in his apartment one day in autumn 1954 by

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

The return to the home key can be seen as a relief from the “dissonance” produced by the passages of second themes in E major and b minor. Yet, the tonality on G major is not distinctive enough to induce a home-returning emotion in the listeners. Therefore, the composer restated the opening of the first theme in G major and continues with arpeggiando passages (Fig. H) (mm.288-295) establishing the dominant of the home key. The coda (mm.295-324) consists only

In “Searching for Nijinsky’s Sacre”, Hodson discusses Nijinsky’s revolutionary lost Sacre. She begins the article by giving a detailed description of Le Sacre du

Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would

More so than that of most other comparably illustrious writers, a number of Vladimir Nabokov’s works beckon near polarizing discrepancies in interpretation and actual author intent amidst literary circles. In a letter to the editor of The New Yorker, he concedes to constructing systems “wherein a second (main) story is woven into, or placed behind, the superficial semitransparent one” (Dolinin). In practice, such an architectural premise is complicated further by his inclination to dabble in the metaphysical and occasionally, in the metafictional. Nabokov’s inclusion of meticulous description and word choice coupled with his reliance on unreliable narrators—in “Signs and Symbols,” “The Vane Sisters,” and “Details of a Sunset”-- permits him

Peter Ilyich Tchaikovsky is the author of six symphonies and the finest and most popular operas in the Russian repertory. Tchaikovsky was also one of the founders of the school of Russian music. He was a brilliant composer with a creative imagination that helped his career throughout many years. He was completely attached to his art. His life and art were inseparably woven together. "I literally cannot live without working," Tchaikovsky once wrote, "for as soon as one piece of work is finished and one would wish to relax, I desire to tackle some new work without delay." The purpose of this paper is to give you a background concerning Tchaikovsky's biography, as well as to discuss his various works of

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).