Russian composer igor stravinsky expresses his opinion about conductors comparing their egocentric m

I analyzed instrumental music performance teaching and learning from the perspective of the three artist-teachers. The data collected from interviews, observations, and my personal narratives provide a rich resource for the analysis of the professional lives of master musicians, their pedagogies, and their thoughts about artistry in music performance and instruction.

The Soviet regime wanted to educate its people in a particular ideological context, namely that of communism.

Russian composer igor stravinsky expresses his opinion about conductors comparing their egocentric m

It wanted to create a sophisticated, high culture, raising the general levels of education of the working class rather than pander to an audience. The term mass culture remained synonymous with commercial and bourgeois throughout the Soviet period.

A parallel can be drawn, however, between mass culture in the capitalist world, serving commercial aims, and mass culture in the USSR, serving a political aim Macdonald In this introduction I recapitulate Soviet cultural history in the light of mass appeal and popular taste before exploring concepts of popular culture.

After the Revolution The October Revolution of was supported by a great number of artists, who put their art at the service of the Revolutionary cause. The Revolution had an enormous impact on cultural life in general, and on theater and cinema in particular, as a potential tool for agitation among the masses and the propagation of socialist ideas.

The theater director Vsevolod Meyerhold —who had staged rather grandiose productions at the Imperial Alexandrinsky Theater in St. Petersburg before the Revolution, instantly declared that he would dedicate his art to socialism. Along with the young directors Sergei Eisenstein, Nikolai Yevreinov, and Nikolai Okhlopkov, Meyerhold favored spectacles that would both stun and actively involve the audience.

Artists continued to theatricalize political themes in the years immediately after the Revolution. The artist and designer Alexander Rodchenko designed political posters and worked as a photographer. The artist Varvara Stepanova designed proletarian fashion. Avant-garde artists may have actively supported the Revolution in the s, but connection to the masses was not that straightforward.

In fact, it was a flop, reaching only 70, viewers in the first two weeks of a mere four-week run. The experiment in art that was conducted by the avant-garde failed with the masses, who wanted to see emotionally engaging films, watch theater where they could suffer with the protagonists, and wear fashionable, not artistic and experimental, clothes.

Consequently, the avantgarde fell out of favor with the Communist leadership, which was concerned with the use of art to reach the masses. For this purpose the concept of Socialist Realism, stipulating a portrayal of the Soviet Union in its development toward the ideal of communism, was adopted in as the only mode of artistic expression.

Lenin may have supported a certain diversity of artistic forms, those that appealed to the masses as well as those that engaged in experimentation and sought new forms of expression. Single unions were created, such as the Soviet Unions of Composers, of Artists, of Cinematographers, of Theater Workers, of Writers, and so on, in order to ensure that all artists would express themselves in a way that was understood by the masses and—needless to say—that was ideologically correct.

This new art was to advertise the utopia of communism: In cinema, a directive was issued to educate and enlighten the masses through film. Foreign film imports were stopped, and the audience was fed a solid Soviet diet.

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The entertainment value of a film presented suitable packaging whereby the ideological message would reach the masses. The blockbuster became a tool for ideology. At the same time, popular elements comic or melodramatic genres, the promotion of stars, the inclusion of mass and folk songs were incorporated into official Stalinist culture.

The popular films of the s all relied on a simple narrative and conventional style, with a linear plot, reducing complex issues to a level that could be understood by the masses.

Russian composer igor stravinsky expresses his opinion about conductors comparing their egocentric m

The hero Chapayev can explain his complex military strategy with the help of potatoes. The Stalinist musical comedies were blockbusters, loved by the audiences for their glorified and glossy demonstration of life through the beautiful, feminine characters played by Marina Ladynina and Liubov Orlova; they were loved for showing the victory of those Soviet ideals that the population was forced to believe in and for the predictability of their plots.

Stalin simplified the cultural discourse to make it accessible to the masses and used those tools that promised mass appeal as packaging for simple tales. Socialist Realism—the projection of the bright future of the USSR into a simple, linear plot and a realistic form—was the only artistic form of expression tolerated by the Soviet regime.

Consumerism was a marginal feature of everyday life; excess and luxury were part of a special elitist culture to which only the privileged had access.

Culture, high and low, was struggling to find means of expression; appealing to the masses was a secondary consideration after the main one: At this point in history it had also become obvious that Socialist Realism, which excludes the notion of conflict other than between the evil aggressor and the Soviet heroprecluded the notion of tension, thus limiting the emotional or intellectual challenge of its artistic product.

The Thaw had a number of positive effects on cultural life. New theaters opened, including the Sovremennik and Taganka.

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In cinema a move occurred away from the glorification of collective Soviet heroism toward an individual heroism.

Moreover, there was the celebration of the International Youth Festival in Moscow in The Thaw also had a reverse side, however, that reflected the struggle within the party between hardliners and reformers.Madame Gall was best known for her French and Italian operatic roles and was married to the noted composer and conductor, Henri Paul Busser ( – ).

married ( AD) at Narbonne, in Gaul, to his successor Athaulf. Their only son Theodosius died an infant. for his release and published a collection of his work entitled Philosophy. In the passage, composer Igor Stravinsky describes orchestra conductors by using rhetorical devices and detailed language to convey his feelings on the subject.

He is obviously unimpressed with the “skill” that conductors are praised for and cynical of their talent in general.

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Social Comparison 96 Downward (and Upward) Social Comparison Social Support 98 Companionship way group members sometimes change their opinions, judgments, or actions so that they match the opinions, judgments, or actions of the rest of the Do people who are more committed to their group tend to express attitudes that match their.

The composer Igor Stravinsky, for example, seems to me to have been guilty of this when he claimed that expression has never been an inherent part of music: If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality.

() was a series of treaties signed in the Dutch city of [blank] that (mostly) ended the War of the Spanish Succession (). They were signed by France and Spain for one side and by Britain, Savoy, and the United Provinces (The Netherlands) for the other. Now after numerous successful releases and production credits on D.R.A.M's latest release Big Baby D.R.A.M., McClenney is preparing for the next chapter in his sonic story with the release of his EP Portrait in Two on Jan 13, , that will showcase his many talents as a singer, songwriter, producer, and multi-instrumentalist.

Igor Stravinsky - Wikipedia