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Keys and modes, functions and progressions in Mussorgsky's Boris GodounovCarr, Maureen A. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.
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Evolution of style in the songs of Modest MussorgskyFox, Andrew Criddle, January 1974 (has links)
Thesis (Ph. D.)--Florida State University, 1974. / Vita. Includes bibliographical references (p. 135-137).
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The influence of Moussorgsky on DebussyYaffe, Anna. January 1935 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1935. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves i-v at end).
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The Song Cycles of MoussorgskyBlank, Florette Mary 01 1900 (has links)
This study outlines the history of and development of Russian music, leading into the song cycles of Modest Petrovich Mussorgsky.
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The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /Benbalit, Tatiana I. January 2006 (has links)
Thesis (D. Mus. Arts)--University of Washington, 2006. / Includes bibliographical references (leaves 144-147).
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Mussorgsky's Pictures at an exhibition : an analytical and performance study /Lee, Chen-Tien, January 1993 (has links)
Thesis (D.M.A.)--Ohio State University, 1993. / Includes bibliographical references (leaves 102-105). Available online via OhioLINK's ETD Center
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Nobody's Fool: A Study of the Yrodivy in Boris GodunovPollard, Carol J. 12 1900 (has links)
Modest Musorgsky completed two versions of his opera Boris Godunov between 1869 and 1874, with significant changes in the second version. The second version adds a concluding lament by the fool character that serves as a warning to the people of Russia beyond the scope of the opera. The use of a fool is significant in Russian history and this connection is made between the opera and other arts of nineteenth-century Russia. These changes are, musically, rather small, but historically and socially, significant. The importance of the people as a functioning character in the opera has precedence in art and literature in Russia in the second half of the nineteenth-century and is related to the Populist movement. Most importantly, the change in endings between the two versions alters the entire meaning of the composition. This study suggests that this is a political statement on the part of the composer.
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Três transcrições do "Quadro de uma Exposição" de Modest Mussorgsky: uma análise comparativaDi Sabbatto, Sérgio 28 August 2002 (has links)
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Previous issue date: 2002-08-28 / Partindo da premissa de Samuel Adler, que compara a transcrição orquestral à tradução poética, o presente texto investiga três transcrições orquestrais da suíte para piano “Quadros de uma Exposição” de Modest Mussorgsky. As transcriç6es foram realizadas por Maurice Ravel, Francisco Mignone e Vladimir Ashkenazy. O objetivo do presente trabalho é estabelecer critérios a partir dos quais seja possível estabelecer até que ponte uma transcrição é uma obra original ou uma recriação, ligada à ideia primitiva. / Based on Samuel Adler's idem concerning the similarities of orchestral transcription and poetic translation, this research investigates three orchestral transcription of Modest P. Mussorgsky's piano suite “Picture at an Exhibition”. There transcriptions are those by Mauriçe Ravel, Francisco Mignone and VIadimir Ashkenaq. The aim of the present work is to establish some criteria according to wish a transcription may be regarded a original composition or a new creative process linked to the primary work.
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Um estudo sobre o conteúdo descritivo na interpretação da obra "Quadros de Uma Exposição" de: MussorgskyReale, Diva Evelyn 15 December 1992 (has links)
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Previous issue date: 1992-12-15 / Estudo sobre o conteúdo descritivo na obra 'Quadros de uma Exposição' de Modest Mussorgsky, procura ressaltar a importância, para o interprete, de conhecer o conteúdo descritivo esta peça que abrange, entre outros aspectos, a fonte inspiradora da obra, os conteúdos psicológicos do compositor e as influências do social, do histórico e do "folclore" russos. O trabalho teve, como ponto de referência o "Fac-simile" da peça que possibilitou o estudo comparativo entre o original e várias edições. Consta, também, da pesquisa, uma seleção fonográfica com observações a respeito da concepção interpretativa de importantes pianistas. Foram pesquisados os conteúdos biográficos e estilisticos, assim como as influências e preferências de Mussorgsky. A autora do trabalho realizou, ainda, duas análises da obra, sendo uma· delas sobre a versão original pianística dos "Quadros de uma Exposição" e a outra sobre a orquestração de Ravel, identificando-se os procedimentos composicionais utilizados por Mussorgsky para elaborar uma obra essencialmente realista e descritiva. Entre os anexos, encontram-se o "Fac-simile", a partitura Urtex Edition - Schott Wien, duas análises da obra, uma entrevista e fotos. / Study on the descriptive contents in the composition 'Pictures at an Exhibition' of Modest Mussorgsky, tries to give prominence to the importance, to the interpreter, of understanding the descriptive contents of this musical composition which covers, amongst other aspects, the source of inspiration of the composition, the pychological contents by the composer and the social influences, the history and "Russian Folclore". The work had, as a point of reference, the "Fac-simile" of the musical composition which made possible, the comparative study between the original and the various editions. In the research, there is a phonographic selection with observations as to the interpretative conception of important pianists. The biographic and stylistic contents were researched as also the influences and preferences of Mussorgsky. The author of the work, also, made two analyses of the composition, one of them being on the original pianistic version os "Pictures at an Exhibition" and the other on the orchestration of Ravel, identifying the composition procedures utilized by Mussorgsky to elaborate an essentially
realistic and descriptive composition. Amongst the enclosures, may be found the "Fac-simile",
the Urtex Edition Schott-Wien score, two analyses of the composition, an interview and photos.
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An analytical study of the Ravel orchestration of Mussorgsky's Pictures at an exhibitionBall, Maclyn 01 January 1957 (has links)
In considering Maurice Ravel's orchestration of Mussorgsky’s Pictures At An Exhibition, this paper will consider the work of Ravel from two aspects. First, it will deal with Ravel as a classical craftsman as evident in this orchestration. Second, it will explore this work and in two of his original works in which color is of main importance and some of his characteristics as a colorist. These considerations will follow a preliminary background of Mussorgsky’s piano score, and extant editions thereof.
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