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Prokofiev and the Soviet Dilemma : = Censorship, Autonomy and the Piano Transcriptions.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Prokofiev and the Soviet Dilemma :/
其他題名:	Censorship, Autonomy and the Piano Transcriptions.
作者:	O'Kane, Connor.
面頁冊數:	1 online resource (89 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
Contained By:	Dissertations Abstracts International85-01A.
標題:	Piano. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30537958click for full text (PQDT)
ISBN:	9798379881269

Prokofiev and the Soviet Dilemma : = Censorship, Autonomy and the Piano Transcriptions.
O'Kane, Connor.

Prokofiev and the Soviet Dilemma :Censorship, Autonomy and the Piano Transcriptions. - 1 online resource (89 pages)

Source: Dissertations Abstracts International, Volume: 85-01, Section: A.

Thesis (D.M.A.)--The University of Western Ontario (Canada), 2023.

Includes bibliographical references

This monograph presents a study of Sergei Prokofiev's piano transcriptions connected with the ballets Romeo and Juliet (1935-36) and Cinderella (1940-44). Although they are now considered two of the composer's finest achievements, both ballets suffered significant delays, censorship, and revisions as a result of Soviet cultural pressures. This monograph argues that these artistic frustrations were a major factor in Prokofiev's decision to arrange his ballet music for solo piano. These piano arrangements, or transcriptions, are musically distinct from their ballet counterparts in several ways. This monograph provides detailed analyses of four particular transcriptions, each of which reflects a notable change from its ballet counterpart. The transcriptions analyzed include one from Romeo and Juliet; "Romeo and Juliet Before Parting," and three from Cinderella; "Pavane," "Gavotte," and "Amoroso." Considering the challenges Prokofiev faced while composing the ballets, and the ways in which the piano transcriptions are musically unique from their ballet versions, this monograph argues that the piano transcriptions offer a unique insight into Prokofiev's musical vision, one which could not be fully realized in the ballets alone. To support this claim, this monograph explores the relationships between Prokofiev's compositional practices, his artistic beliefs, and the circumstances surrounding Romeo and Juliet and Cinderellaand their subsequent piano transcriptions. The monograph concludes with a reflection on the connections made and how they can influence both performers and musicologists, followed by a few suggestions for future research.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379881269Subjects--Topical Terms:

526062
Piano.
Index Terms--Genre/Form:

542853
Electronic books.

Prokofiev and the Soviet Dilemma : = Censorship, Autonomy and the Piano Transcriptions.
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520 $a This monograph presents a study of Sergei Prokofiev's piano transcriptions connected with the ballets Romeo and Juliet (1935-36) and Cinderella (1940-44). Although they are now considered two of the composer's finest achievements, both ballets suffered significant delays, censorship, and revisions as a result of Soviet cultural pressures. This monograph argues that these artistic frustrations were a major factor in Prokofiev's decision to arrange his ballet music for solo piano. These piano arrangements, or transcriptions, are musically distinct from their ballet counterparts in several ways. This monograph provides detailed analyses of four particular transcriptions, each of which reflects a notable change from its ballet counterpart. The transcriptions analyzed include one from Romeo and Juliet; "Romeo and Juliet Before Parting," and three from Cinderella; "Pavane," "Gavotte," and "Amoroso." Considering the challenges Prokofiev faced while composing the ballets, and the ways in which the piano transcriptions are musically unique from their ballet versions, this monograph argues that the piano transcriptions offer a unique insight into Prokofiev's musical vision, one which could not be fully realized in the ballets alone. To support this claim, this monograph explores the relationships between Prokofiev's compositional practices, his artistic beliefs, and the circumstances surrounding Romeo and Juliet and Cinderellaand their subsequent piano transcriptions. The monograph concludes with a reflection on the connections made and how they can influence both performers and musicologists, followed by a few suggestions for future research.
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