1st Edition

Analytical Approaches to 20th-Century Russian Music Tonality, Modernism, Serialism

Edited By Inessa Bazayev, Christopher Segall Copyright 2021
    278 Pages 135 B/W Illustrations
    by Routledge

    278 Pages 135 B/W Illustrations
    by Routledge

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    This volume brings together analyses of works by thirteen Russian composers from across the twentieth century, showing how their approaches to tonality, modernism, and serialism forge forward-looking paths independent from their Western counterparts. Russian music of this era is widely performed, and much research has situated this repertoire in its historical and social context, yet few analytical studies have explored the technical aspects of these composers' styles. With a set of representative analyses by leading scholars in music theory and analysis, this book for the first time identifies large-scale compositional trends in Russian music since 1900.

    The chapters progress by compositional style through the century, and each addresses a single work by a different composer, covering pieces by Rachmaninoff, Myaskovsky, Prokofiev, Shostakovich, Mansurian, Roslavets, Mosolov, Lourié, Tcherepnin, Ustvolskaya, Denisov, Gubaidulina, and Schnittke. Musicians, scholars, and students will find here a starting point for research and analysis of these composers' works and gain a richer understanding of how to listen to and interpret their music.

    Table of Contents




    Part I: Tonality

    Chapter 1

    Tonal Pairing in Two of Rachmaninoff’s Songs

    Ellen Bakulina

    Chapter 2

    Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky

    Scott Murphy

    Chapter 3

    House of Mirrors: Distorted Proportions in Prokofiev’s Piano Concerto No. 1

    Rebecca Perry

    Chapter 4

    A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works

    Patrick McCreless

    Chapter 5

    Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian’s Requiem

    Knar Abrahamyan


    Part II: Modernism

    Chapter 6

    Fifths’ Paths through Nikolai Roslavets’s Three Poems of Zinaida Gippius

    Inessa Bazayev

    Chapter 7

    Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism

    Daniil Zavlunov

    Chapter 8

    The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera

    Klára Móricz

    Chapter 9

    The Features of Alexander Tcherepnin’s Nine-Step Scale and Its Use in the First Movement of His First Symphony

    Joshua Bedford

    Chapter 10

    Timbre and Vibration in Galina Ustvolskaya’s Composition No. 1, "Dona nobis pacem"

    Maria Cizmic


    Part III: Serialism

    Chapter 11

    Edison Denisov and Multiple-Row Serialism

    Zachary Cairns

    Chapter 12

    Historical and Stylistic Reconciliation in Sofia Gubaidulina’s Reflections on the Theme BACH

    Joseph Straus

    Chapter 13

    Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto

    Christopher Segall



    Inessa Bazayev is Paula G. Manship Associate Professor of Music Theory and Theory Area Coordinator at Louisiana State University.

    Christopher Segall is Associate Professor of Music Theory at the College-Conservatory of Music, University of Cincinnati.