Larisa L Gerver
Biographic Data
| ID | 9456902 |
|---|---|
| NAME | Larisa L Gerver |
| GIVEN NAMES | Larisa L |
| FAMILY NAME | Gerver |
| SIGNATURE | GERVER L L |
| AFFILIATIONS | Gnessin Russian Academy of Music |
| ORCID | 0000-0001-6796-3299 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
On the Narrative and Architectonics Applied to Daniil Kharms’ Prose
The present article was written as a response to the formulation of the theme of the conference Musical Composition: Narrative and Architectonics (Gnesin’ Russian Academy of Music, 2022), where in the commonality between music, literature and architecture was stated – i.e., between music and those forms of creativity to whom narrative and architectonics initially pertain. Music possesses the equable capability of perception of compositional princ…
On the Structure of the 16thcentury Madrigals on Texts in Fixed Poetic Forms
Our study investigates madrigal settings of sestinas, sonnets and ballata with highly structured forms. They are, to a varying degree, unambiguously attributed to fixed poetic forms (formes fixes). In particular, the study explores the correspondence of the musical form to a specific fixed poetic form (rather than text-music correspondences of the most general nature, as is the case with the analysis of musico-poetic lines). A number of publicati…
Fugues for chorus and soloist ensemble in Joseph Haydn's late masses
Fugues from Haydn's late masses are marked by similarity achieved through the repetition of techniques and musical material. Most of the fugues are built on a two-part thematic formula with a particular rhythmic and melodic pattern. Choral fugues in late masses are small in size and generally follow the rules of “strict style”. These rules are only violated in the ensemble cadenza of soloists before the final choral tutti, thus becoming the secre…
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Fugues for chorus and soloist ensemble in Joseph Haydn's late masses
Fugues from Haydn's late masses are marked by similarity achieved through the repetition of techniques and musical material. Most of the fugues are built on a two-part thematic formula with a particular rhythmic and melodic pattern. Choral fugues in late masses are small in size and generally follow the rules of “strict style”. These rules are only violated in the ensemble cadenza of soloists before the final choral tutti, thus becoming the secre…
On the Structure of the 16thcentury Madrigals on Texts in Fixed Poetic Forms
Our study investigates madrigal settings of sestinas, sonnets and ballata with highly structured forms. They are, to a varying degree, unambiguously attributed to fixed poetic forms (formes fixes). In particular, the study explores the correspondence of the musical form to a specific fixed poetic form (rather than text-music correspondences of the most general nature, as is the case with the analysis of musico-poetic lines). A number of publicati…
On the Narrative and Architectonics Applied to Daniil Kharms’ Prose
The present article was written as a response to the formulation of the theme of the conference Musical Composition: Narrative and Architectonics (Gnesin’ Russian Academy of Music, 2022), where in the commonality between music, literature and architecture was stated – i.e., between music and those forms of creativity to whom narrative and architectonics initially pertain. Music possesses the equable capability of perception of compositional princ…
Art (3 works) · Literature (3 works) · Musical (3 works) · Aesthetics (2 works) · Computer Science (2 works) · Linguistics (2 works) · Philosophy (2 works) · Physics (2 works) · Poetry (2 works) · Visual arts (2 works)