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dc.contributor.authorDean, Terry Lynn
dc.date.accessioned2014-03-04T16:23:35Z
dc.date.available2014-03-04T16:23:35Z
dc.date.issued2009-05
dc.identifier.otherdean_terry_l_200905_phd
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/dean_terry_l_200905_phd
dc.identifier.urihttp://hdl.handle.net/10724/25428
dc.description.abstractMore than fifty years after Prokofyev’s death, War and Peace remains a misunderstood composition. While there are many reasons why the opera remains misunderstood, the primary reason for this is the opera’s genesis in Stalinist Russia and his obligation to uphold the “life-affirming” principles of the pro-Soviet aesthetic, Socialist Realism, by drawing inspiration from the rich heritage “Russian classical” opera—specifically the works of Glinka, Chaikovsky, and Musorgsky. The primary intent of this dissertation is to provide new perspectives on War and Peace by examining the relationship between the opera and the nineteenth-century Russian opera tradition. By exploring such a relationship, one can more clearly understand how nineteenth-century Russian operas had a formative effect on Prokofyev’s opera aesthetic. An analysis of the impact of the Russian operatic tradition on War and Peace will also provide insights into the ways in which Prokofyev responded to official Soviet demands to uphold the canon of nineteenth-century Russian opera as models for contemporary composition and to implement aspects of 19th-century compositional practice into 20th-century compositions. Drawing upon the critical theories of Soviet musicologist Boris Asafyev, this study demonstrates that while Prokofyev maintained his distinct compositional voice, he successfully aligned his work with the nineteenth-century tradition. Moreover, the study suggests that Prokofyev’s solution to rendering Tolstoy’s novel as an opera required him to utilize a variety of traits characteristic of the nineteenth-century Russian opera tradition, resulting in a work that is both eclectic in musical style and dramaturgically effective.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectSergei Prokofyev, Prokofiev, Opera, Russian music, Soviet music, Rimsky-Korsakov, Chaikovsky, Tchaikovsky, Musorgsky, Mussorgsky, Boris Asafyev, Boris Asafiev, Intonatsiya, War and Peace, Socialist Realism, Psychology and Music
dc.titleThe nineteenth-century Russian operatic roots of Prokofyev’s War and peace
dc.typeDissertation
dc.description.degreePhD
dc.description.departmentSchool of Music
dc.description.majorMusic
dc.description.advisorDavid Haas
dc.description.committeeDavid Haas
dc.description.committeeSusan Thomas
dc.description.committeeDorothea Link
dc.description.committeeElena Krasnostchekova
dc.description.committeeAdrian Childs


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