הפקולטה לאמנויות ע''ש יולנדה ודוד כץ, בית הספר למוזיקה ע"ש בוכמן-מהטה

שם הקורס: סרגיי פרוקופייב: מבט על סגנון

שם הקורס באנגלית: Prokofiev and His World 
 

שנתי תשע"ט

מהות ההוראה: סמינר, 4 ש"ס

שם המרצה: ד"ר נלי קרביץ

טל':03-551-12-86

נייד: 05465008890

דוא"ל: kravitz@post.tau.ac.il

שעת קבלה

יום ב'

9.00-11.00

תיאור הקורס  

קורס זה מעניק ידע בסיסי אודות המלחין הרוסי הדגול סרגיי פרוקופייב בהקשר ההיסטורי של המאה ה-20. הקורס יתמקד בכל סוגי הג'נרים החשובים במוזיקה של פרוקופייב (סימפוניה, אופרה, באלט, פסנתר , קונצ'רטו, קנטטה, מוזיקת סרטים) כמו כן יוצגו במהלך הקורס חומרים ויזואלים נדירים . בקורס נבחן הביטים שונים בסגנונו של המלחין כגון:

• יסודות הבסיס המוזיקליים בסגנונו (קלאסי, מודרני, לירי וגרוטסקי ).
• התפתחות של השפה המוזיקלית ביצירותיו .
• האינטראקציה בין המשטר הדיקטטורי לבין המוזיקה
   

This course provides a basic knowledge about the great Russian composer Sergei Prokofiev in the historical context of the 20^th century. The course will focus on the main genres in Prokofiev’s music such as: symphony, opera, concerto, cantata, film music, piano miniature. In the course we will examine the following issues:

• The main stylistic lines in Prokofiev’s music: classical, modern, lyrical and grotesque;
• The evolution of  Prokofiev’s musical language;
• The influence of the dictatorship regime on Prokofiev’s works.

דרישות הקורס

נוכחות, השתתפות, קריאה, כתיבת עבודה סמינריונית/  רפרט  בסוף הקורס 

מרכיבי הציון הסופי

• עבודה סמינריונית /רפרט – 80%
•  השתתפות (פעילה) קריאת המאמר והצגתו בכיתה -  20%

נושאי הקורס (נתון לשינויים)

1. Introduction: Prokofiev’s Childhood works.

2-3. Neoclassical style. Piano pieces Op. 12.

Richard Taruskin, “Back to Whom? Neoclassicism as Ideology”,

19th-Century Music, Vol. 16, No. 3 (Spring, 1993), 286-302.

Park, J. “A Performance’s Perspective: a Performance  History and Analysis of Serge Prokofiev’s Ten piano pieces op. 12”. Doctoral dissertation (Boston, 2007),  7-29.

4-5. Classical Symphony.

Yuri Kholopov, “Why did Prokofiev Write the “Classical Symphony?”, Three Oranges Journal,  №13, (May, 2007), 10—14.

Edward Green, “Prokofiev’s Classical Symphony and the Abiding Question of Sincerity in Music”, Three Oranges Journal, №13, (May, 2007), 2—9.

6-7. Prehistoric subjects in ballet: Prokofiev and Stravinsky.

http://en.wikipedia.org/wiki/Scythians

Stephen Press, Prokofiev’s Ballet’s for Diaghilev, (London: Ashgate, 2006), 124—142 (the comparison between Prokofiev and Stravinsky).

8-9. Piano concerto style (№1 and №2).

Katarzyne, M. “Prokofiev’s Second Piano Concerto: its genesis, form and narrative structure”.  Doctoral dissertation: Temple Univ. (2013), 27-32; 33-48.

11-12.  Piano miniature (Sarcasmes op. 17 and Fugitive Visions op. 22)

Moelling, S. “Visions Fugitives, op. 22. Insights into Sergei Prokofiev’s compositional vision”.  A Doctoral dissertation (Nebraska, 2007), 11-52; 54-62.

13-14. Comedia dell arte: Opera “Love For Three Oranges”.

Michael V.Pisani, “A Kapustnik in the American Opera House: Modernism and Prokofiev’s Love for Three Oranges”, The Musical Quarterly, (Winter 1997), Vol. 81, №4 (186—515).

Harlow Robinson H.”Love for three Operas: The Collaboration of  Vsevolod Meyerchold and Sergei Prokofiev. Russian Review, 45 (1986): 287-304.

15. Prokofiev and Brusov. Opera “Te Fiery Angel”.

Simon Morrison, “The Fiery Angel: Prokofiev and Brusov”, Three Oranges Journal, №3 (2002), 12—18.

16. Prokofiev in Paris: Modern Style.

Noelle Mann, “Trapeze: A Forgotten Ballet by Sergei Prokofiev and Boris Romanov”, Three Oranges Journal, №4 (2002), 4—9.

17-18. Prokofiev in America. Overture on Jewish Themes.

Stephen D. Press, “I came Too Soon”: Prokofiev’s Early Career in America”, Sergey Prokofiev and His World, ed. by Simon Morrison (Princeton and Oxford: Princeton University Press, 2008), 334—375.

Nelly Kravetz, “I Must be the Only Jewish Composer”: Prokofiev and Jewish Music”, Three Oranges Journal, №26 (2014), 2—10.

19-20. Music and Cinema.

Kevin Bartig, “Lieutenant Kizhe: New Media, New Means”, Sergey Prokofiev and His World, ed. by Simon Morrison (Princeton and Oxford: Princeton University Press, 2008), 376—400.

Simon Morrison, The People’s Artist: Prokofiev’s Soviet Years, (New York: Oxford University Press, 2009), 217—246 (“Eisenshtein Films”).

21. Music and Dictatorship. Stalin’s Image in Music (“Zdravitza”).

Leonid Maximenkov, “The Rise and Fall of the 1948 Central Committee Resolution on Music”, Three Oranges Journal (Highlights), dedicated to the 120^th anniversary of the birth of Serge Prokofiev, 2011, 84—91.

“Resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) of 10 February 1948”; “Response of Serge Prokofiev to the Resolution of 10 February 1948”, Three Oranges Journal, №16 (2008), 8—13.

Simon Morrison, The People’s Artist: Prokofiev’s Soviet Years, (New York: Oxford University Press, 2009), 295—301 (“1948”).

Simon Morrison, The People’s Artist: Prokofiev’s Soviet Years, (New York: Oxford University Press, 2009), 54—66 (“Miscalculation”).

Simon Morrison, The People’s Artist: Prokofiev’s Soviet Years, (New York: Oxford University Press, 2009), 113—117 (“Stalin’s Image in Music”).

Vladimir Orlov, “Prokofiev and the Myth of the Father of Nations: The Cantata Zdravitza, Three Oranges Journal, № 26 (2014), 16—24.

22.  Unknown Prokofiev.

23.  The Late Piano sonatas

Malcolm H.Brown, “Prokofiev’s Eight Piano Sonata”, Tempo, №70 (Autumn, 1964), 9—15.

Simon Morrison, The People’s Artist: Prokofiev’s Soviet Years, (New York: Oxford University Press, 2009), 162—164 (№6 and №7).

24. The last Symphony

Edward Lockspeiser, “Prokofiev’s Seventh Symphony”, Tempo, №37 (Autumn, 1955), 24—27.

רשימת ספרות (נתון לשינויים) 

General Bibliography:

Austin, W. Music in Twentieth Century from Debussy Trough Stravinsky. New York: W. W. Norton and Company, 1966.

Fiess, S. The Piano Works of Serge Prokofiev. Metuchen, N.J.: Scarecrow, 1994.

Morrison, S. The People’s Artist: Prokofiev’s Soviet Years. New York: Oxford Univ. Press, 2009.

Nestiev, I. Prokofiev., transl. from Russian by Florence Jonas. Stanford: Stanford University Press, 1960.

Minturn, N. The Music of  Sergei Prokofiev. New Haven: Yale University Press, 1997.

Nice, D. Prokofiev: From Russia to the West 1891-1935. New Heaven and London: Yale Univ. Press, 2003.

Roberts, P. Modernism in Russian Piano Music: Scriabin, Prokofiev and their Russian Contemporaries, vol. I-II, Bloomington and Indianapolis: Indiana University Press, 1993.

Robinson, H. S. Prokofiev. A Biography. New York: Paragon House, 1988.

Prokofiev, S. Diaries.1907-1914. English edition.Vol. I  Thansl. and annotated by Anthony Phillips. (Ithaca, New York: Cornell Univ. Press, 2006, 2013).

Prokofiev, S.Diaries.1924—1933. English edition. Vol. III. Transl. and annotated by Anthony Phillips. (Ithaca, New York: Cornell Univ. Press, 2006, 2013).

Prokofiev, S. Soviet Diary 1927 and Other Writings. London, 1991.

Schwartz, B.  Music and Musical Life in Soviet Russia, 1917-1970. London: Barril and Jenkis, 1972.

Sergey Prokofiev and His World. Ed. by Simon Morrison. Princeton and Oxford: Princeton Univ. Press, 2008.

Articles on particular works

Bartig, K.  “Creating the Lieutenant Kizhe Suite”, Three Oranges Journal, №13 (May, 2007), 22—26.

Bartig, K. “Lieutenant Kizhe: New Media, New Means”, Sergey Prokofiev and His World, ed. by Simon Morrison (Princeton and Oxford: Princeton University Press, 2008), 376—400.

 Bass, R. “Prokofiev’s Technique of Chromatic Displacement”. Music Analysis, (7:2, 1988):197-213.

Brown, M. “Prokofiev’s Eight Piano Sonata”. Tempo 70 (Autumn, 1964); 9-15.
 

Green, E. “Prokofiev’s Classical Symphony and the Abiding Question of Sincerity in Music”, Three Oranges Journal, №13, (May, 2007), 2—9.

Katarzyne, M. “Prokofiev’s Second Piano Concerto its genesis, form and narrative structure”.  Temple Univ. (2013), 27-32; 33-48.

Kholopov, Y. “Why did Prokofiev Write the “Classical Symphony?”,Three Oranges Journal,  №13, (May, 2007), 10—14.

Kravetz, N.  “I Must be the Only Jewish Composer”: Prokofiev and Jewish Music”, Three Oranges Journal, №26 (2014), 2—10.

Lockspeiser, E.  “Prokofiev’s Seventh Symphony”, Tempo, №37 (Autumn, 1955), 24—27.

Mann, N.“Trapeze: A Forgotten Ballet by Sergei Prokofiev and Boris Romanov”, Three Oranges Journal, №4 (2002), 4—9.

Maximenkov, L.  “The Rise and Fall of the 1948 Central Committee Resolution on Music”, Three Oranges Journal (Highlights), dedicated to the 120^th anniversary of the birth of Serge Prokofiev, 2011, 84—91.

“Resolution of the Central Committee of the All-Union Communist Party    (Bolsheviks) of    10 February 1948”; “Response of Serge Prokofiev to the Resolution of 10 February 1948”, Three Oranges Journal, №16 (2008), 8—13.

McAllister, R. “Natural and Supernatural in “The Fiery Angel” .  Musical Times, Vol. IIII, N 1530 (Aug. 1970).

Moelling, S. “Visions Fugitives, op. 22. Insights into Sergei Prokofiev’s compositional vision.  A Doctoral dissertation (Nebraska, 2007), 11-52; 54-62.

Morrison, S.  “The Fiery Angel: Prokofiev and Brusov”, Three Oranges Journal, №3 (2002), 12—18

Nissman, B. “The Many Faces of Prokofiev As Seen Through His Piano Concertos”, Three Oranges Journal, №4 (2002), 24—29.

Orlov, V.  “Prokofiev and the Myth of the Father of Nations: The Cantata Zdravitza”, Three Oranges Journal, № 26 (2014), 16—24.

Park, J. “A Performance’s Perspective: a Perfomance  History and Analysis of Serge Prokofiev’s Ten piano pieces”. Doctoral dissertation. (Boston, 2007),  7-29.

Pisani, M. “A Kapustnik in the American Opera House: Modernism and Prokofiev’s Love for Three Oranges”, The Musical Quarterly, (Winter 1997), Vol. 81, №4 , 186—515.

 Robinson, R. ”Love for three Operas: The Collaboration of  Vsevolod Meyerchold and Sergei Prokofiev. Russian Review,45 (1986), 287-304. 

Press, S. Prokofiev’s Ballet’s for Diaghilev, (London: Ashgate, 2006), 124—142 (about the comparison between Prokofiev and Stravinsky).

Taruskin,R.  “Back to Whom? Neoclassicism as Ideology”, 19^th CenturyMusic, Vol. 16, №3 (Spring, 1993), 283-302.