Quartet, no. 6, opus 101 PDF Download
Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download Quartet, no. 6, opus 101 PDF full book. Access full book title Quartet, no. 6, opus 101 by Dmitriĭ Dmitrievich Shostakovich. Download full books in PDF and EPUB format.
Author: Dmitriĭ Dmitrievich Shostakovich
Publisher:
ISBN:
Category : String quartets
Languages : en
Pages : 16
Get Book Here
Book Description
Author: Dmitriĭ Dmitrievich Shostakovich
Publisher:
ISBN:
Category : String quartets
Languages : en
Pages : 16
Get Book Here
Book Description
Author: Dmitriĭ Dmitrievich Shostakovich
Publisher:
ISBN:
Category : String quartets
Languages : en
Pages : 72
Get Book Here
Book Description
Author: Dmitriǐ Dmitrievich Shostakovich
Publisher:
ISBN:
Category :
Languages : en
Pages :
Get Book Here
Book Description
Author: Dmitriĭ Dmitrievich Shostakovich
Publisher:
ISBN:
Category : String quartets
Languages : en
Pages : 58
Get Book Here
Book Description
Author: Dimitri Shostakovich
Publisher:
ISBN:
Category :
Languages : en
Pages :
Get Book Here
Book Description
Author: David Clampitt
Publisher: University Rochester Press
ISBN: 1580463223
Category : Literary Collections
Languages : en
Pages : 368
Get Book Here
Book Description
Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900.
Author: Dmitrij D. Šostakovič
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
Get Book Here
Book Description
Author: Dmitriĭ Dmitrievich Shostakovich
Publisher: Cornell University Press
ISBN: 9780801439797
Category : Composers
Languages : en
Pages : 408
Get Book Here
Book Description
This choice by the composer's close friend Isaak Glikman brought the tormented feelings of the musical genius into public view. Now those feelings resound in the first substantial collection of Shostakovich's letters to appear in English.
Author: Sarah Reichardt
Publisher: Routledge
ISBN: 1351571362
Category : Music
Languages : en
Pages : 238
Get Book Here
Book Description
Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer‘s middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende
Author: Judith Kuhn
Publisher: Routledge
ISBN: 1351548689
Category : Music
Languages : en
Pages : 314
Get Book Here
Book Description
A thorough examination of Shostakovich's string quartets is long overdue. Although they can justifiably lay claim to being the most significant and frequently performed twentieth-century oeuvre for that ensemble, there has been no systematic English-language study of the entire cycle. Judith Kuhn's book begins such a study, undertaken with the belief that, despite a growing awareness of the universality of Shostakovich's music, much remains to be learned from the historical context and an examination of the music's language. Much of the controversy about Shostakovich's music has been related to questions of meaning. The conflicting interpretations put forth by scholars during the musicological 'Shostakovich wars' have shown the impossibility of fixing a single meaning in the composer's music. Commentators have often heard the quartets as political in nature, although there have been contradictory views as to whether Shostakovich was a loyal communist or a dissident. The works are also often described as vivid narratives, perhaps a confessional autobiography or a chronicle of the composer's times. The cycle has also been heard to examine major philosophical issues posed by the composer's life and times, including war, death, love, the conflict of good and evil, the nature of subjectivity, the power of creativity and the place of the individual - and particularly the artist - in society. Soviet commentaries on the quartets typically describe the works through the lens of Socialist-Realist mythological master narratives. Recent Western commentaries see Shostakovich's quartets as expressions of broader twentieth-century subjectivity, filled with ruptures and uncertainty. What musical features enable these diverse interpretations? Kuhn examines each quartet in turn, looking first at its historical and biographical context, with special attention to the cultural questions being discussed at the time of its writing. She then surveys the work's reception history, and
