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Such Freedom, If Only MusicalUnofficial Soviet Music during the Thaw$
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Peter J Schmelz

Print publication date: 2009

Print ISBN-13: 9780195341935

Published to Oxford Scholarship Online: May 2009

DOI: 10.1093/acprof:oso/9780195341935.001.0001

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From Abstraction to Mimesis, from Control to Freedom: Pärt, Schnittke, Silvestrov, and Gubaidulina

From Abstraction to Mimesis, from Control to Freedom: Pärt, Schnittke, Silvestrov, and Gubaidulina

Chapter:
(p.216) 6 From Abstraction to Mimesis, from Control to Freedom: Pärt, Schnittke, Silvestrov, and Gubaidulina
Source:
Such Freedom, If Only Musical
Author(s):

Peter J. Schmelz

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195341935.003.0006

This chapter traces the development of aleatory techniques, tonal citation, and mimesis over the course of the 1960s in the music of Arvo Pärt, Alfred Schnittke, Valentin Silvestrov and Sofia Gubaidulina. It also examines briefly a related set of conversions that took place among many of the “unofficial” composers, including Alemdar Karamanov and Nikolai Karetnikov: those of an explicitly religious nature. These “true” conversions thus form a subcurrent throughout this chapter, reflecting another type of freedom beginning to be felt in the late 1960s USSR. Arvo Pärt Alfred Schnittke Valentin Silvestrov Sofia Gubaidulina aleatory techniques mimesis religion conversion Alemdar Karamanov Nikolai Karetnikov

Keywords:   Arvo Pärt, Alfred Schnittke, Valentin Silvestrov, Sofia Gubaidulina, aleatory techniques, mimesis, religion, conversion, Alemdar Karamanov, Nikolai Karetnikov

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