Thesis (Ed. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 139-142). Also available on the Internet.

Thesis (Ed. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 139-142). Also available on the Internet.

Wenn es sich also bei diesem dritten Jahrhundertviertel auch um keine abgeschlossene Epoche handelt, so verspricht seine Betrachtung doch Aufschluß über die institutionellen Rahmenbedingungen einer entscheidenden musikgeschichtlichen Weichenstellung: Gab es vor 1750 noch kein einziges musikalisches Bühnenwerk in russischer Sprache, so bringt das folgende Vierteljahrhundert nicht nur den ersten russischen Operntypus überhaupt – die russifizierte \"opera seria\" –, sondern auch seine Überwindung zugunsten der russischen komischen Oper, die die Produktion der folgenden Jahrzehnte dominiert und im 19. Jahrhundert zur russischen Nationaloper führt.

Der vorliegende Beitrag ist eine Skizze, die das bereits in der knappen Zeitspanne von 1881 bis etwa 1900 mehrfach wechselnde Verhältnis zwischen russischen und italienischen Operntruppen in Petersburg zu umreißen versucht.

Emile Joseph Trognee's career took place not only during a time unsurpassed with regards to the musical and constructional developments of the trumpet, but also in the highly important and evolving musical environment of Imperial and Soviet Russia. As a result of an investigation of their inherent musical qualities, this document will establish how Emile Trognee's works are representative of European trumpet and cornet pedagogical and musical trends of the early 20th century. Through formal, thematic and harmonic analysis of these works, the key pedagogical and stylistic features are identified and discussed as consistent or unique to those of the period. Preceding that analysis and critical to an understanding of the contextual relevance of this material is a summation of the important 19th and early 20th century musical developments that influenced the instruction and use of the trumpet and cornet in Russia and Europe. It is hoped that modern study of the challenging works of that period will benefit from a better understanding of the performance and educational practices of those who were present at their inception or particularly adept in their performance.

The relationship between party organisation, class consciousness and workers’ struggle has been a basic issue in Marxism since its foundation, and particularly since the rise of revisionism at the end of the last century. To the very limited that a “mainstream” literature on Lenin sought to locate him within the Marxist tradition that tradition was identified with a determinist interpretation of Marx developed by the revisionists and centrists. This approach has been countered by a generally sympathetic view of Lenin’s comments on party organisation, argued by a recent set of “critics” of the “mainstream” view. Yet despite their wish to make a comprehensive critique of the “mainstream”, most of the critics have failed to do so due a residual element of determinism in their understanding of the relation between workers’ struggle and the development of class consciousness.This thesis seeks to complete the critique of the “mainstream” through establishing the role of conscious intervention in realising the material possibilities for workers’ struggle. It does so through a case study of the labour movement in St. Petersburg between the “Emancipation” of 1861 and the “Stolypin Coup” of 3/6/1907. A pivotal point in the development of this movement was “Bloody Sunday” (9/1/1905), and the thesis is structured around that moment to show what changes, as well as what does not change, in the role of conscious intervention in periods of mass struggle relative to times of more limited protest.

Thesis (D.Min.)--South Florida Center for Theological Studies, 2006. / Includes bibliographical references.

In this article I would like to attract attention to the personality of Ludwig Wilhelm Maurer. As a brilliant virtuoso violinist, known in Russia since 1817, conductor of the French theatre in St. Petersburg since 1835, inspector of all Emperor theatres since 1841 and conductor of the Philharmonic and Concert societies, Ludwig Maurer was an advocate of the classic inheritance.

In den letzten Jahren hat die russische Musikwissenschaft die internationalen Ursprünge der russischen Musikkultur erneut zum Gegenstand ihres Interesses gemacht. Das betrifft insbesondere St. Petersburg, die \"europäischste\" Stadt Rußlands, die seit ihrer Gründung 1703 ausländische Mentalitäten gleichsam in sich aufsog.

Der vorliegende Beitrag ist eine Skizze, die das bereits in der knappen Zeitspanne von 1881 bis etwa 1900 mehrfach wechselnde Verhältnis zwischen russischen und italienischen Operntruppen in Petersburg zu umreißen versucht.