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History of music education in america
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Dmitri Shostakovich was one of the most celebrated composers of the 20th century. He achieved fame, but with much hardship along the way. He was censored and threatened with not only his life but that of his wife and children by playing the role of a public figure in Soviet Russia. The question is was he a committed communist or a victim? The events in his life, good or bad, shaped the music that he created and led to one of the greatest symphonies of the 20th century, his Fifth Symphony. Born in Saint Petersburg, Russia on September 25, 1906, Shostakovich was the second of three children born to Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. His father was of Polish descent but both his parents were Siberian natives. Dmitri was a child prodigy as a pianist and composer. He began taking piano lessons from his mother at the age of nine. He displayed an incredible talent to remember what his mother had played at the previous lesson and would get caught pretending to read the music, playing the music from his last lesson instead of what was placed in front of him. In 1919, at the age of thirteen, he was allowed to enter the Petrograd Conservatory in Saint Petersburg and studied piano with Leonid Nikolayev. Because the conservatory was poorly funded, it did not have heat; the students had to wear coats, hats and gloves constantly only taking off their gloves when composing. Because of these poor living conditions Dmitri developed tuberculosis of the lymph glands in spring 1923 and had to have an operation. Nevertheless, he completed his final piano examinations at the conservatory in June with his neck still bandaged. Shostakovich, though very intelligent and talented, was seen as immature in his fin... ... middle of paper ... ...alled. Works Cited • Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A history of western music. 8th ed. New York: W. W. Norton, 2010. Print. • Fanning, David. Shostakovich studies. Cambridge: Cambridge University Press, 1995. Print. • Hurwitz, David, and Dmitriĭ Dmitrievich Shostakovich. Shostakovich symphonies and concertos: an owner's manual. Pompton Plains, N.J.: Amadeus ;, 2006. Print. • Norris, Christopher. Shostakovich, the man and his music. Boston: M. Boyars, 1982. Print. • Volkov, Solomon, and Antonina W. Bouis. Shostakovich and Stalin: the extraordinary relationship between the great composer and the brutal dictator. New York: Knopf, 2004. Print. • David Fanning and Laurel Fay. "Shostakovich, Dmitry." Grove Music Online. Oxford Music Online. 14 Apr. 2012 .
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
In the year 1922, after a long and bloody civil war, the Soviet Union was officially formed. After World War II, the Union of Soviet Socialist Republics, USSR, established itself as one of the world’s superpowers, opposite of the United States of America. The Communist regime reigned over the Soviet Union until 1990, shortly before the Soviet Union collapsed and was formally dissolved in December of 1991. However, during that reign, many rules and regulations were imposed on all aspects of life, including music. Many musicians were denounced because their music did not conform to the Soviet regulations. Some fled the country. Others stayed to fight for the right to compose freely. Those who stayed had to walk a fine line, balancing their self-expression while conforming to the Soviet demands.
In their books: Copland: 1900 through 1942 and Copland: Since 1943, Aaron Copland and Vivian Perlis give a detailed account of the life of one of America’s most influential composers. The books are arranged similarly to the Shostakovich biography that our class reviewed earlier this semester. That is, through personal accounts by Copland himself along with accounts of Copland’s friends and acquaintances, the authors manage to paint an accurate and interesting picture detailing the life of the great composer. When combined, the two books recount Copland’s entire life, dividing it into two periods for the purpose of easier organization and reading.
Dmitri Dmitrievich Shostakovich (Russian: Дми́трий Дми́триевич Шостако́вич (help·info), tr. Dmitriy Dmitrievich Shostakovich, pronounced [ˈdmʲitrʲɪj ˈdmʲitrʲɪjɪvʲɪtɕ ʂəstɐˈkovʲɪtɕ]; 25 September [O.S. 12 September] 1906 – 9 August 1975) was a Russian composer and pianist. He is regarded as one of the major composers of the 20th century.[1]
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
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 art.
Igor Stravinsky was a Russian composer who reformed 20th-century music, and incited disturbances with The Rite of Spring. Stravinsky composed masterpieces in every genre. Russian-born American composer Igor Stravinsky is widely considered one of the great geniuses of modern music. His innovations in tone, rhythm, and harmony were revolutionary in their day, and his compositions have been universally acclaimed. Stravinsky's was known for his stylistic diversity. He changed the way composers thought about rhythmic structure. Stravinsky pushed the boundaries of musical design.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
Son of a poverty-stricken shoemaker, raised in a backward province, Joseph Stalin had only a minimum of education. However, he had a burning faith in the destiny of social revolution and an iron determination to play a prominent role in it. His rise to power was bloody and bold, yet under his leadership, in an unexplainable twenty-nine years, Russia because a highly industrialized nation. Stalin was a despotic ruler who more than any other individual molded the features that characterized the Soviet regime and shaped the direction of Europe after World War II ended in 1945. From a young revolutionist to an absolute master of Soviet Russia, Joseph Stalin cast his shadow over the entire globe through his provocative affair in Domestic and Foreign policy.
"In Shostakovich we have the paradigm of a new, essentially political form of complex inward adjustments, one which requires a new kind of symphony." (Norris 177) Although a lifelong communist and an intense Russian patriot (he applied for and was granted membership into the Communist party in 1960), Dmitri Shostakovich composed under constant fear of public condemnation, often for what he perceived as the most contradictory reasons. He strongly believed in a profound bond between the composer and his society which enabled him to work, survive, and develop, but also which fostered an air of confusion when he felt he was wrongly criticized. In 1968, he was quoted as saying, "Soviet music is a weapon in the ideological battle. Artists cannot stand as indifferent observers in this struggle." (Blokker 133) He believed that composers could not retreat into private, creative worlds; rather, they must deal with the socio-political problems of the day, however bitter the experience. He felt that 'good' music lifts and heartens the people for work; it might be tragic, but it must be strong. This quotation reinforces his interdependence with the Soviet state. He realized that his works were entirely public, and as such, should be written with not only the audience in mind, but also with the thoughts of how a strict government might react.
("Sergei Eisenstein is Dead in Moscow”, New York Times, 1948). Eisenstein’s more popular works include: Strike, The Battleship Potemkin, October, Alexander Nevsky, and Ivan the Terrible (Hoobler 77-80). To this day, Eisenstein is held in hi...
Taylor, Jake. “Igor Stravinsky – Le Sacre du Printemps.” SputnikMusic. 10 August 2008. Web. 17
During the hard and cruel era of Stalinism, Shostakovich had the courage to express the desolation of his people by method of remarkable dramatic feeling; hence, his music became a moral support for all who were persecuted. Sofia Gubaidulina reflected, "The circumstances he lived under were unbearably cruel, more than anyone should have to endure." With Stravinsky and Prokofiev, Shostakovich embodies the culmination of 20th Century Russian music, but unlike his contemporaries, he is unique in having composed his entire opus within the framework of Soviet aesthetics. When forced onto the defensive, he did not dispute; but instead overcame the limitations of socialist realism and infused throughout his works his belief in the final victory of justice, which transformed his music into a powerful stimulus to the spirit of resistance and freedom.
Once they decided to move from Paris to Moscow the Soviets trick had worked. His wife was sent to a prison-camp in Siberia, all of his music created while he was outside of the Soviet Union was banned as it was seen as anti-Soviet, and Shostakovich wrote in his testimony that Prokofiev was “scared out of his wits”. Vsevolod Meyerhold, a friend director of Prokofiev was arrested and eventually executed by association.
As a youth he reluctantly studied law, as much bore by it as Schumann had been, and even became a petty clerk in the Ministry of Justice. But in his early twenties he rebelled, and against his family's wishes had the courage to throw himself into the study of music at the St. Petersburg Conservatory. He was a ready improviser, playing well for dancing and had a naturally rich sense of harmony, but was so little schooled as to be astonished when a cousin told him it was possible to modulate form any key to another. He went frequently to the Italian operas which at that time almost monopolized the Russian stage, and laid t...