Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0429. Adviser: William Kinderman. Includes bibliographical references (leaves 153-157) Available on microfilm from Pro Quest Information and Learning.

La partition de "Sept, ils sont sept" pour ténor solo, chœur et orchestre ayant été imprimée en Russie en 1922 sans l'accord du compositeur, la question de l'authenticité du texte musical de cette œuvre, méconnue et néanmoins l'une les plus chères à Prokofiev, est fondamentale. L'origine de l'incantation mésopotamienne transcrite par le poète Constantin Balmont, à partir de laquelle Prokofiev rédigea le texte mis en musique, a pu être retracée en confrontant les ouvrages du poète aux écrits du compositeur. Des liens ignorés jusqu'à présent ont ainsi pu être tissés, et les rôles successifs joués par chacun dans la constitution du texte final clairement établis. Les recherches menées à la lumière documents inédits ont permis d'établir l'histoire de la genèse de cette œuvre et de comprendre dans quelles conditions la 1ère édition fut réalisée, à partir d'un manuscrit autographe récemment découvert. Ce sont également quatre traductions françaises réalisées en vue de la création qui ont été retrouvées, et dont l'étude comparée a permis d'établir le rôle primordial joué par Prokofiev dans ce processus. Lors de la réalisation de l'édition critique de cette partition, nous avons systématiquement confronté cinq manuscrits inédits, aux trois versions imprimées en 1922 et 1933, en tenant compte de leur histoire, de leur spécificité, et de leur mode de rédaction.En même temps qu'elle représente le premier travail d'édition critique mené sur une œuvre de Prokofiev, cette recherche s'inscrit dans la continuité des publications les plus récentes, afin d'offrir aux interprètes autant qu'aux musicologues une partition claire qui corresponde au mieux à la pensée musicale de Serge Prokofiev. / As the score of "Seven, They Are Seven" for tenor solo, choir and orchestra has been printed in Russia in 1922 without the composer's consent, a basic question is to know whether the musical text of this work, neglected and yet one of Prokofiev's dearest, is authentic.The origin of the Mesopotamian incantation transcribed by the poet Constantin Balmont, from which Prokofiev drafted the text finally put in music, was recalled by comparing at once the works of Balmont to the composer's writings.Previously unknown connections could thus be weaved, and the successive roles played by each in the constitution of the final text were clearly established. Research conducted in light of unpublished documents made possible to trace the origins of this work and to understand the conditions in which the 1st edition had been made, from a recently discovered autograph manuscript.Also, four rediscovered French translations made for this work's creation confirmed in a comparative study the key role played by the composer in this process. By taking into account their history, their specificity, and how they were drawn up, we systematically compared, for the realization of the critical edition of this score, three complete manuscripts as well as a vocal score and an annotated edition completed by a manuscript, all unpublished, to the three versions printed in 1922 and 1933. Representing the first critical edition of a work by Prokofiev, this research fits in line with the most recent publications, in order to provide interpreters as well as musicologists a clear score which agrees, at best, to the musical thought of Sergey Prokofiev.

The Commedia dell'arte was a form of Italian comedy prevalent from about 1560 to 1760. It was rooted in the comedy of ancient Greece and Rome, and it first appeared during the Middle Ages. An example of this is the comic opera The Love for Three Oranges, scored by Sergei Prokofiev.

No description available.

Yau, Oi Suet. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 170-178). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction / Chapter I. --- Introduction --- p.1 / Chapter II. --- Literature Review --- p.2 / Chapter III. --- Methodology --- p.7 / Chapter IV. --- Thesis Structure --- p.10 / Chapter Chapter 2 --- "Background, Children and Music Education" / Chapter I. --- General Historical Background --- p.12 / Chapter II. --- "Children, Music Education and the Soviet Union" --- p.22 / Chapter Chapter 3 --- Prokofiev and his Children's works in the 1930s / Chapter I. --- Prokofiev's Return to the Soviet Union --- p.36 / Chapter II. --- Prokofiev's Children's Works in the 1930s / Music for Children (Op. 65) --- p.43 / Summer Day (Op. 65b) --- p.53 / Peter and the Wolf [Op. 67) --- p.58 / Three Children's Songs for Voice and Piano (Op. 68) --- p.76 / Chapter Chapter 4 --- "War Years, Stalin Prize and Radio Committee" / Chapter I. --- Historical Background --- p.89 / Chapter II. --- The Awards for Cultural Intelligentsia- Honorary Titles and Stalin Prize --- p.101 / Chapter III. --- All-Union Radio Committee --- p.103 / Chapter Chapter 5 --- Prokofiev and His Later Children's Works / Chapter I. --- Prokofiev's Late Years --- p.107 / Chapter II. --- Prokofiev's Later Children's Works / Winter Bonfire (Op. 122) --- p.109 / On Guard for Peace (Op. 124) --- p.121 / Seventh Symphony (Op. 131) --- p.139 / Chapter Chapter 6 --- Conclusion --- p.153 / Appendix --- p.159 / Bibliography --- p.170

Shortly after returning to Moscow in 1936, Prokofiev composed his first Soviet opera, Semyon Kotko (Opus 81). The libretto was taken from Valentin Kataev's novel I am a Son of the Working People, a tale of revolution and war in a small Ukrainian village and one that adheres to the tenets of Socialist Realism. Kataev encouraged Prokofiev to set this text in a highly conservative song style. Prokofiev was also influenced in the project by Vsevolod Meyerhold, an innovative artist who advocated using continuous declamation as a means of achieving "dramatic truth" in music. / This essay examines the extent to which Semyon Kotko can be considered a conformist opera. Part One is a survey of Socialist Realism and its manifestation in Soviet literature and music during the 1930's; Parts Two and Three examine the text and music of Semyon Kotko as representative of the doctrine. Consideration is given throughout the study to the opposing influences of Kataev and Meyerhold on Prokofiev, and to the political events surrounding the opera's composition.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).

This dissertation attempts to shed new light on the value of Sergei Prokofiev’s piano transcriptions from the ballet Cinderella, exploring his distinguished body of work through a comparative analysis of the ballet Cinderella and its piano transcriptions. Prokofiev reproduced his nineteen (19) transcription pieces in three sets—op. 95, op. 97, and op. 102—from the ballet, and they are distinctive in many significant aspects, including the organization within a movement, form, harmony, and textural modifications, when compared to the ballet and its piano reduction. In addition, the characters in his three sets are apparent as they are designed in accordance with the dance suite, character piece, and programmatic music. The ultimate object of the dissertation is, through its close examination and reappraisal of Prokofiev’s transcriptions, to provide piano performers with lasting insight into an authentic interpretation of music. The first chapter provides the foundation for the necessity and importance of this comparative analysis between the ballet and the piano transcriptions from Cinderella, and it proceeds to lay out the overall analytical sequence. The second chapter presents a brief overview of Prokofiev’s biography and compositional background relating to his ballet and transcriptions. In particular, it traces Prokofiev’s compositional philosophy and the surrounding historical contexts during the Soviet era. The third chapter examines the distinctions of all nineteen (19) movements of Prokofiev’s three piano transcription sets in terms of their organization, form, harmony, and textural modifications from the ballet scores for orchestra, investigating the distinguishing features of each transcription by way of numerous illustrative examples. In particular, each section analyzes some of the most notable features of all movements based on its title. Finally, the last chapter concludes with a summary of the comparative analysis, assessing the inherent value of Prokofiev’s piano transcriptions as piano solo works incorporating a choreographic gesture, and with the anticipation and hope that the resulting analytical approach can enable piano performers to play with more authenticity and a well-rounded perspective.