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Taruskin Richard

Обновлено: 09-12-2010
Образование PhD: Musicology [Columbia University, 1975]
Место работы Department of Music University of California (Department of Music University of California) / Professor

Профессиональные интересы:
История русской и советской музыки, национализм в музыке, музыка и идеология.
Музыкальная культура Западной Европы эпохи Возрождения.

Публикации:
‘Realism as Preached and Practiced: the Russian Opera Dialogue’, MQ, lvi (1970), 431–54;
Opera and Drama in Russia: the Preachment and Practice of Operatic Esthetics in the Eighteen Sixties (diss., Columbia U., 1975; Ann Arbor, 1981) as Opera and Drama in Russia as Preached and Practiced in the 1860s ;
‘Glinka's Ambiguous Legacy and the Birth Pangs of Russian Opera’, 19CM, i (1977–8), 142–62 ;
‘Opera and Drama in Russia: the Case of Serov's Judith’, JAMS, xxxii (1979), 74–117;
‘Russian Folk Melodies in The Rite of Spring’, JAMS, xxxiii (1980), 501–43;
‘The Musicologist and the Performer’, Musicology in the 1980s: Boston 1981, 101–17;
‘From Subject to Style: Stravinsky and the Painters’, Confronting Stravinsky: San Diego 1982, 16–38;
‘“Little Star”: an Etude in the Folk Style’, Musorgsky, in Memoriam, 1881–1981, ed. M.H. Brown (Ann Arbor, 1982), 57-84;
‘On Letting the Music Speak for Itself: some Reflections on Musicology and Performance’, JM, i (1982), 338–49;
‘How the Acorn took Root: a Tale of Russia’, 19CM, vi (1982–3), 189–212;
‘Handel, Shakespeare, and Musorgksy: the Sources and Limits of Russian Musical Realism’, Music and Language (New York, 1983), 247–68;
ed., with P. Weiss: Music in the Western World: a History in Documents (New York and London, 1984);
‘“The Present in the Past”: Russian Opera and Russian Historiography, ca. 1870’, Russian and Soviet Music: Essays for Boris Schwarz, ed. M.H. Brown (Ann Arbor, 1984), 77–146;
‘The Rite Revisited: the Idea and the Sources of its Scenario’, Music and Civilization: Essays in Honor of Paul Henry Lang, ed. E. Strainchamps, M.R. Maniates and C. Hatch (New York, 1984), 183–202;
‘Some Thoughts on the History and Historiography of Russian Music’, JM, iii (1984), 321–39;
‘Musorgsky vs Musorgsky: the Versions of Boris Godunov’, 19CM, viii (1984–5), 91–118, 245–72;
‘Chernomor to Kashchei: Harmonic Sorcery, or, Stravinsky's “Angle”’, JAMS, xxxviii (1985),72–142;
‘Serov and Musorgsky’, Slavonic and Western Music: Essays for Gerald Abraham, ed. M.H. Brown and R.H. Wiley (Ann Arbor and Oxford, 1985), 139–61;
‘Antoine Busnoys and the L'homme armé Tradition’, JAMS, xxxix (1986), 255–93;
‘Chez Petrouchka: Harmony and Tonality chez Stravinsky’, 19CM, x (1986–7), 265–86;
‘Stravinsky's “Rejoicing Discovery” and what it Meant: in Defense of his Notorious Text Setting’, Stravinsky Retrospectives, ed. E. Haimo and P. Johnson (Lincoln, NE, 1987), 162–200;
‘The Pastness of the Present and the Presence of the Past’, Authenticity and Early Music, ed. N. Kenyon (Oxford, 1988), 137–210;
‘Resisting the Ninth’, 19CM, xii (1988–9), 241–56;
‘“Entoiling the Falconet”: Russian Musical Orientalism in Context’, COJ, iv (1992), 253–80;
‘Tradition and Authority’, EMc , xx (1992), 311–25;
Musorgsky: Eight Essays and an Epilogue (Princeton, NJ, 1992);
‘The Traditional Revisited: Stravinsky's Requiem Canticles as Russian Music’, Music Theory and the Exploration of the Past, ed. C. Hatch and D.W. Bernstein (Chicago, 1993), 525–50;
‘Busnoys and Chaikovsky’, International Journal of Musicology, iv (1995), 111–37;
‘From Fairy Tale to Opera in Four Moves (Not so Simple)’, Opera and the Enlightenment, ed. T. Bauman and M. Petzoldt McClymonds (Cambridge, 1995), 299–307 [on Prokofiev's The Love for Three Oranges];
‘A Myth of the Twentieth Century: The Rite of Spring, the Tradition of the New, and the Myth Itself’, Modernism/Modernity, ii (1995), 1–26;
‘Public Lies and Unspeakable Truth: Interpreting Shostakovich's Fifth Symphony’, Shostakovich Studies, ed. D. Fanning (Cambridge, 1995), 17–56;
Text and Act: Essays on Music and Performance (Oxford, 1995)
Stravinsky and the Russian Traditions: a Biography of the Works through Mavra (Berkeley, 1996);
Defining Russia Musically: Historical and Hermeneutical Essays (Princeton, NJ, 1997);


Публикации на портале:
Домашняя страница http://ls.berkeley.edu/dept/music/Taruskin.html
E-mail taruskin@socrates.berkeley.edu

Дополнительная информация:
Один из крупнейших музыковедов США, активно работающий в сфере истории и социологии музыки. Является признанным авторитетом в области истории русской музыки. Переосмысление Тарускиным целого ряда "хрестоматийных" положений музыкальной русистики позволило ему по-новому осветить взаимоотношения искусства и общества в России XIX — XX вв.
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См. также:
Любовь Фридриховна Борусяк
Вестник общественного мнения: Данные. Анализ. Дискуссии. 2004.  № 6 (74). С. 58-70. 
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Общественные науки и современность. 2004.  № 4. С. 71-86. 
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Мкртич Оганесович Мнацаканян
Социологические исследования. 1999.  С. 118-127. 
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А.С. Леонова
Вестник общественного мнения: Данные. Анализ. Дискуссии. 2004.  № 4 (72). С. 83-91. 
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