Nabokov, Nicolas [Nikolay]
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- BIBLIOGRAPHY
- Nasidze, Sulkhan
- WORKS
- WRITINGS
Nashville sound.A term used in the late 1950s and early 1960s to describe the rock- and pop-influenced Country music being recorded in Nashville. The emergence of this style was the result of an attempt by the country-music industry to preserve and expand its audience in the face of the threat posed by the enormous popularity of rock-and-roll. Chet Atkins, the guitarist and country-music director for RCA in Nashville, supported by Ken Nelson of Capitol, Owen Bradley of MCA, Billy Sherrill and Glen Sutton of Columbia, and other leaders of the industry, sought to create a musical sound that would preserve a rural flavour within an urban style, and thus broaden the appeal of country music to urban, middle-class listeners. Some critics, however, felt that such a compromise with popular taste destroyed the character of country music. Banjos, steel guitars and the honky-tonk sound were replaced by string sections, brass instruments and vocal choruses, and the studios built up a group of backing musicians who performed with a variety of soloists. The repertory emphasized melodic ballads and novelty songs over more traditional country material. Among the earliest performers influenced by this trend were Eddy Arnold, Patsy Cline and Jim Reeves. From the 1970s the term gained broader usage, describing any kind of popular or traditional music produced in Nashville. BIBLIOGRAPHYB.C. Malone: Country Music U.S.A.: a Fifty-year History (Austin, 1968, 2/1985) P. Hemphill: The Nashville Sound: Bright Lights and Country Music (New York, 1970) W. Ivey: ‘Commercialization and tradition in the Nashville Sound’, Folk Music and Modern Sound, eds. M.L. Hart and W. Ferris (Jackson, MS, 1982) J.K. Jensen: Creating the Nashville Sound: a Case Study in Commercial Culture Production (diss., U. of Illinois, 1984) J.K. Jensen: ‘Genre and Recalcitrance: Country Music’s Move Uptown’, Tracking, i/1 (1988), 30–41 G.H. Lewis, ed: All that Glitters: Country Music in America (Bowling Green, OH, 1993) BILL C. MALONE/R Nasidze, Sulkhan(b Tbilisi, 17 March 1927; d Tibilisi, 21 Sept 1996). Georgian composer and teacher. He graduated from the Tbilisi Conservatory in 1951 from the piano class of A. Svanidze, and then in 1955 from the composition class of Tuskia. From 1963 to the end of his life he taught polyphony and composition there, occupying the posts of lecturer (from 1963), assistant professor (from 1972) and professor and head of the composition department (from 1979). He was also dean of the faculty of theory and composition (1969–74), and in 1974 he was invited to become artistic director of the Georgian State Philharmonia. He was involved in the activities of the Georgian Composers' Union; he was twice elected secretary (1962, 1979) and later chairman of the board (1992). His works have received European broadcasts and have appeared in international festivals and concert series. He was awarded the title Honoured Representative of the Arts of Georgia (1966) and People’s Artist of Georgia (1979), and won the Shota Rustaveli State Prize (1973) and the Laureate of the USSR State Prize (1986). In 1996 he was posthumously awarded the National Order of Merit. Nasidze's music testifies to the conceptual depth of his thinking and could be considered a summation of one of the most typical features of the Georgian world view, namely the cognizance of parallels between the inner and outer worlds so inherent in the Georgian psyche. Primarily an instrumental composer – vocal genres did not determine his importance in Georgian music – his music operates on several levels, frequently embracing polar antitheses such as the dynamics of a dramatically effective principle as opposed to an almost completely static immersion in infinity, or an austere objectivity of statement set off against the agonizing tension of a reflective consciousness. His development was determined by the renewal of the national tradition with the achievements of not only the classical past but also of contemporary Western music. Spiritual and ethical concerns govern the themes and genres of his works. If Nasidze initially took the Georgian Romantic school as his starting point (the First and Second Piano Concertos, the First Symphony), then the start of the 1960s was already marked by an active attempt to overcome the inertia of his previous style, and by the development of trends latent in the symphonism of Shostakovich and Hindemith (Second Symphony, Ostinato). At the end of this decade he made an astounding stylistic leap in his Chamber Symphony (Third Symphony) and the First and Second string quartets. There is much here that speaks of the fruitful influence of Bartók: a leaning towards rhythmic ostinato, development through counterpoint and variation, the aphoristic thematic formulae, the specific principles of cyclical constructing, and finally, the characteristic method of using ancient strata of musical folklore. In the folklore of the highlanders (Pshav), with its austere modal and harmonic system, Nasidze found the potential for a deeply psychological content. National style became an important indication of an individualism within the context of a contemporary language which fashioned the large-scale form of his subsequent compositions. In these, semantic significance unifies image, event and reaction, thus calling for comparison with film in terms of methods of structural resolution be they montage, panorama, fade-in or parallel confrontations. Operating with contrasting strata, he synthesizes both consecutively and simultaneously various systems, styles, genres afresh within the framework of each work employing allusion, quotation and collage. Previous models – particularly neo-classicism – create a canvas of correlations between tempo, rhythm and texture, whilst pitch and timbre are often governed by contemporary methods such as serialism and sonoristic and aleatory techniques. Some vivid examples in which the confrontation of styles is artistically cogent can be found in the works written at the turn of the 1970s and 80s (symphonies five to seven, the Concerto for violin, cello and chamber orchestra, the Second Piano Sonata). Predominance of rationalism over emotion led to the neo-Bachian Tenth Symphony ‘Mizgva I.S. Bakhs’ (‘An Offering to J.S. Bach’), of 1989, whereas the later prevalence of emotionalism reveals an inner concentration and a reflective consciousness which departs from extra-musical programmes in favour of an ever greater generalization and abstraction. The works of the 1990s make use of indeterminism and experiment with noise and sonoristics (which supplement the sound of the standard instruments with acoustic effects); his attempt to embody the changeless nature of world harmony led to the creation of quiet, meditative and spatial music whose charm lay in the unreal beauty of static panorama. WORKS(selective list)
WRITINGS‘Guruli khalkhuri simgerebis poliponiuri taviseburebebis shesakheb’ [The polyphonic features of Gurian folksongs], Sabchota khelovneba (1970), no.2, pp.58–64 ‘Poliponiuri kherkhebi Zakaria Paliashvilis “Abesalom da Etershi”’ [Polyphonic devices in Paliashvili's Abesalom da Eteri], Sabchota khelovneba (1971), no.10, pp.14–18 ‘Ramodenime sitqva tanamedrove musikis shesakheb’ [A few words about contemporary music], Sabchota khelovneba (1974), no.5, pp.29–32 ‘Dar cheloveka i tvortsa’ [The gift of man and the creator], Andria Balanchivadze: sbornik statey i materialov, ed. R. Tsurtsumia (Tbilisi, 1979), 138–9 ‘Traditsiebi da vitareba’ [Traditions and circumstances], Sabchota khelovneba (1982), no.5, pp.52–5
BIBLIOGRAPHYE. Cheishvili: ‘Akhalgazrda kompozitoris tsarmateba’ [A young composer's success], Sabchota khelovneba (1955), no.5, pp.25–6 G. Orjonikidze: ‘Kartuli simponia “gazapkhulidan” “gazapkhulamde” 1959–1965’ [The Georgian symphony from one ‘spring’ to another 1959–1965], Sabchota khelovneba (1965), no.5, pp.33–48 I. Nest'yev and Ya. Solodukho: ‘Gruzinskaya muzïka segodnya’ [Georgian music today], SovM (1977), no.8, pp.29–35 G. Orjonikidze: ‘Gzebi da perspektivebi: tanamedrove kartuli musikis ganvitarebis zogierti sakitkhi’ [Avenues and prospects: some questions about the development of contemporary Georgian music], Sabchota khelovneba (1978), no.9, pp.88–98 E. Balanchivadze: ‘Kvartetï Sulkhana Nasidze’, Sbornik trudov Tbilisskoi Gosudarstvennoy konservatorii, ed. A. Shaverzashvili, viii (Tbilisi, 1980), 137–53 N. Zhgenti: ‘Metro-ritmis zogierti taviseburebani S. Nasidzis simphoniur natsarmoebebshi’ [Certain peculiarities of metre and rhythm in the symphonic works of Nasidze], ibid., 202–8 M. Pritsker: ‘S. Nasidze’, SovM (1982), no.5, pp.31–2 N. Zhgenti: ‘Sulkhan Nasidzis sami simponia’ [3 symphonies by Nasidze], Sabchota khelovneba (1982), no.3, pp.81–8 N. Zhgenti: ‘O nekotorïkh stilisticheskikh tendentsiyakh simfoniy S. Nasidze’ [On certain stylistic tendencies in the symphonies of Nasidze], Voprosï stilya i dramaturgii gruzinskoy muzïki: sbornik trudov, ed. G. Toradze (Tbilisi, 1985), 176–87 R. Kutateladze: ‘Osnovnïye stilisticheskiye osobennosti kontserta dlya skripki s orkestrom S. Nasidze’ [The main stylistic peculiarities of Nasidze's Concerto for violin and orchestra], ibid., 165–75 L. Kakulia: ‘O chetvyortom kvartete S. Nasidze’ [On the fourth quartet of Nasidze], ibid., 203–8 G. Orjonikidze: ‘Pikrebi Sulkhan Nasidzis simphoniur triadaze’ [Thoughts about Nasidze’s symphonic triad], Sabchota khelovneba (1987), no.4, pp.130–36 D. Gogua: ‘Sulkhan Nasidzis ansamblur-instrumentuli shemokmedeba’ [The works for instrumental ensemble by Nasidze], Sabchota khelovneba (1989), no.1, pp.91–100 LEAH DOLIDZE Yüklə 10,2 Mb. Dostları ilə paylaş:
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