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History of Music in Russia from Antiquity to 1800, Volume 2: The Eighteenth Cent
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Specificaties
- Objectstaat
- ISBN
- 0253348269
- EAN
- 9780253348265
- Binding
- TC
- Book Title
- History of Music in Russia from Antiquity to 1800,
- Subject Area
- Music
- Publication Name
- History of Music in Russia from Antiquity to 1800, Vol. 2 Vol. 2
- Item Length
- 10 in
- Publisher
- Indiana University Press
- Subject
- History & Criticism, Genres & Styles / Folk & Traditional, Ethnic
- Publication Year
- 2008
- Series
- Russian Music Studies
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.6 in
- Item Width
- 7 in
- Item Weight
- 51 Oz
- Number of Pages
- 640 Pages
Over dit product
Product Information
In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history. Volume 2 of Findeizen's landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century.
Product Identifiers
Publisher
Indiana University Press
ISBN-10
0253348269
ISBN-13
9780253348265
eBay Product ID (ePID)
57056119
Product Key Features
Publication Name
History of Music in Russia from Antiquity to 1800, Vol. 2 Vol. 2
Format
Hardcover
Language
English
Subject
History & Criticism, Genres & Styles / Folk & Traditional, Ethnic
Publication Year
2008
Series
Russian Music Studies
Type
Textbook
Subject Area
Music
Number of Pages
640 Pages
Dimensions
Item Length
10 in
Item Height
0.6 in
Item Width
7 in
Item Weight
51 Oz
Additional Product Features
LCCN
2006-037057
Intended Audience
Scholarly & Professional
Number of Volumes
2 Vols.
Lc Classification Number
Ml300.F413 2007
Grade from
College Graduate Student
Reviews
"Findeyzen's major work... remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built." -- Gerald Abraham, The New Grove Dictionary of Music and Musicians, ... Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers... If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work., "... truly the cornerstone for the study of Russian music before the nineteenth century... a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail.... Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage." -Gregory Myers, Port Moody, BC, Canada, RUSSIAN REVIEW, April 2009, "Certainly, there is still much to be learnt about Russian music before Glinka, and even for those working on the music of the nineteenth, twentieth and now twenty-first centuries, Findeizen and his editors are models for us all." -- Slavonic & East European Review, Vol. 88, no. 4, October 2010, Most Russian scholars and musicologists consider Fendeizen's Ocherki po istorii musyki v Rossee (1928-29) the starting ground for any research on the history of Russian music. The work details the origins and development of music in Russia from antiquity through the beginning of the 19th century, with a focus on the differences between Russian music as it developed in court life and in folk traditions. In examining Russian music from antiquity to the beginning of the 18th century, volume 1 offers chapters on early Russian society, musical instruments, relig! ious and secular music, court music, important individuals (composers, singers, music theorists), and the reign of Peter the Great. Volume 2 looks at the courts of Elizabeth I and Catherine II, the music of Russian domestic life, and the interesting development of the Russian horn band. This is a groundbreaking, important translation, and it benefits from the expertise of its editors, all well-known musicologists whose research has focused on Russian music. Summing Up: Highly recommended. Large collections supporting music scholarship at the upper-division undergraduate levels and above. --Choice, ... truly the cornerstone for the study of Russian music before the nineteenth century... a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail.... Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage., "Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour.... I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community." -Marina Ritzarev, Eighteenth-Century Music, Vol. 6.2 2009, "Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour.... I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community." -- Marina Ritzarev, Eighteenth-Century Music, Vol.6.2 2009, Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour. . . . I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community.Vol. 6.2 2009, "Findeizen's major work . . . remains the foundation stone on which all later work on the history of Russian music before the 19th century has been built." Gerald Abraham,The New Grove Dictionary of Music and Musicians, . . . Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers. . . If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work.July 2008, "... Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers... If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work." -Russian Life, July 2008, "Most Russian scholars and musicologists consider Fendeizen's Ocherki po istorii musyki v Rossee (1928-29) the starting ground for any research on the history of Russian music. The work details the origins and development of music in Russia from antiquity through the beginning of the 19th century, with a focus on the differences between Russian music as it developed in court life and in folk traditions. In examining Russian music from antiquity to the beginning of the 18th century, volume 1 offers chapters on early Russian society, musical instruments, relig! ious and secular music, court music, important individuals (composers, singers, music theorists), and the reign of Peter the Great. Volume 2 looks at the courts of Elizabeth I and Catherine II, the music of Russian domestic life, and the interesting development of the Russian horn band. This is a groundbreaking, important translation, and it benefits from the expertise of its editors, all well-known musicologists whose research has focused on Russian music. Summing Up: Highly recommended. Large collections supporting music scholarship at the upper-division undergraduate levels and above. --Choice"--B. L. Eden, University of California, Santa Barbara, January 2008 ". . . truly the cornerstone for the study of Russian music before the nineteenth century . . . a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail. . . . Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage.April 2009"--Gregory Myers, Port Moody, BC, Canada ". . . Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers. . . If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work.July 2008"-- Russian Life "Copiously illustrated, comprehensive, and exhaustive . . . . a historical first. . . . deserves high praise and enthusiastic endorsement . . . as the preeminent source for the study of Russia's musical heritage.Vol. 68.2 April 2009"--Gregory Myers, Port Moody, BC, Canada "Certainly, there is still much to be learnt about Russian music before Glinka, and even for those working on the music of the nineteenth, twentieth and now twenty-first centuries, Findeizen and his editors are models for us all.Vol. 88, no. 4, October 2010"-- Slavonic & East European Review "Findeyzen's major work . . . remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built."--Gerald Abraham, The New Grove Dictionary of Music and Musicians "Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour. . . . I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community.Vol. 6.2 2009"--Marina Ritzarev, Eighteenth-Century Music, Certainly, there is still much to be learnt about Russian music before Glinka, and even for those working on the music of the nineteenth, twentieth and now twenty-first centuries, Findeizen and his editors are models for us all., Most Russian scholars and musicologists consider Fendeizen's Ocherki po istorii musyki v Rossee (1928-29) the starting ground for any research on the history of Russian music. The work details the origins and development of music in Russia from antiquity through the beginning of the 19th century, with a focus on the differences between Russian music as it developed in court life and in folk traditions. In examining Russian music from antiquity to the beginning of the 18th century, volume 1 offers chapters on early Russian society, musical instruments, relig! ious and secular music, court music, important individuals (composers, singers, music theorists), and the reign of Peter the Great. Volume 2 looks at the courts of Elizabeth I and Catherine II, the music of Russian domestic life, and the interesting development of the Russian horn band. This is a groundbreaking, important translation, and it benefits from the expertise of its editors, all well-known musicologists whose research has focused on Russian music. Summing Up: Highly recommended. Large collections supporting music scholarship at the upper-division undergraduate levels and above. --ChoiceB. L. Eden, University of California, Santa Barbara, January 2008--B. L. Eden, University of California, Santa Barbara (01/01/2008), . . . truly the cornerstone for the study of Russian music before the nineteenth century . . . a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail. . . . Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage.April 2009, "Copiously illustrated, comprehensive, and exhaustive.... a historical first.... deserves high praise and enthusiastic endorsement... as the preeminent source for the study of Russia's musical heritage." -- Gregory Myers, Port Moody, BC, Canada, The Russian Review, Vol. 68.2 April 2009, Copiously illustrated, comprehensive, and exhaustive . . . . a historical first. . . . deserves high praise and enthusiastic endorsement . . . as the preeminent source for the study of Russia's musical heritage.Vol. 68.2 April 2009, "Certainly, there is still much to be learnt about Russian music before Glinka, and even for those working on the music of the nineteenth, twentieth and now twenty-first centuries, Findeizen and his editors are models for us all." -Slavonic & East European Review, Vol. 88, no. 4, October 2010, "... Meticulously indexed, it includes relevant musical scores as appendices and is wonderfully illustrated with everything from images of instruments to skomorokhi. There are copious tables of little known musical terms, samples of chastushki, synopses of operas, lists of published works and famous musicians and composers... If it took place in Russia from 1 AD to the end of the 1800s and had to do with music, you are likely to find something in here about it. An invaluable reference work." -- Russian Life, July 2008, Findeizen's prose provides a fascinating narrative, and the translator, Samuel William Pring, has succeeded in conveying its original flavour.... I can attest that undertaking a translation and commentary that would meet present-day academic criteria must have seemed an almost impossible task. That is why I wish to emphasize that the completion of this project is one worth celebrating, and that the collective labour of those involved deserves the approbation of the wider musicological community., Findeyzen's major work . . . remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built., "... truly the cornerstone for the study of Russian music before the nineteenth century... a refreshingly balanced presentation of both sacred and secular music traditions that is truly remarkable in its breadth of scholarship and detail.... Findeizen's History deserves high praise and enthusiastic endorsement; it belongs on every post secondary-course reading list as the preeminent source for the study of Russia's musical heritage." -- Gregory Myers, Port Moody, BC, Canada, RUSSIAN REVIEW, April 2009, Copiously illustrated, comprehensive, and exhaustive.... a historical first. ... deserves high praise and enthusiastic endorsement... as the preeminent source for the study of Russia's musical heritage., "Copiously illustrated, comprehensive, and exhaustive.... a historical first. ... deserves high praise and enthusiastic endorsement... as the preeminent source for the study of Russia's musical heritage." -Gregory Myers, Port Moody, BC, Canada, The Russian Review, Vol. 68.2 April 2009, "Findeyzen's major work... remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built." -Gerald Abraham, The New Grove Dictionary of Music and Musicians, Findeyzen's major work... remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built., "Copiously illustrated, comprehensive, and exhaustive.... a historical first. ... deserves high praise and enthusiastic endorsement... as the preeminent source for the study of Russia's musical heritage." -- Gregory Myers, Port Moody, BC, Canada, The Russian Review, Vol. 68.2 April 2009
Table of Content
Editors' Introduction to Volume 1 Author's Preface List of Abbreviations 1. Introduction. The Predecessors of the Slavs 2. Pagan Rus' 3. Kievan Rus' 4. Novgorod the Great 5. The Activities of the Skomorokhi in Russia 6. Music and Musical Instruments in Russian Miniatures, Woodcuts, and Glossaries 7. A Survey of Old Russian Folk Instruments 8. Music in Ancient Moscow (Fifteenth and Sixteenth Centuries) 9. Music in the Monastery. Chashi (Toasts). Bell Ringing. Sacred Performances (Sixteenth and Seventeenth Centuries) 10. Music in Court Life in the Seventeenth Century 11. A Brief Survey of Singers, Composers, and Music Theorists of the Sixteenth and Seventeeth Centuries 12. Music and Theater in the Age of Peter the Great Music Appendix Notes Volume 1 Bibliography
Copyright Date
2008
Dewey Decimal
780.947
Dewey Edition
22
Illustrated
Yes
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