Yuri Nikolaevich Kholopov (Russian: Ю́рий Никола́евич Холóпов, Yury Holopov; August 14, 1932, Ryazan – April 24, 2003, Moscow) was a Russian musicologist and educator.
After graduating from Ryazan Music Regional College he studied at the Moscow Conservatoire from 1949 to 1954 with Igor Sposobin and then with Semyon Bogatyrev, completing his master's degree in 1960.
He presented his PhD thesis in 1975 with a monograph Contemporary Aspects of Harmony in Music of Prokofiev printed earlier in 1967, and the Doctorate Degree thesis in 1977, with a monograph Essays in Contemporary Harmony printed in 1974. His important research of life and music of Anton von Webern was printed in two volumes in 1973 and 1975 (in collaboration with his sister, Valentina Kholopova).
He taught at the Tchaikovsky Conservatory Moscow since 1960, where he became a professor in 1983. His teaching was highly influential for several generations of musicians. He has written more than 1000 works (800 of which have been published), practically on all aspects of music theory. Especially important were his textbooks of harmony (both theoretical and practical studies) which have been now commonly recognized in Russia as a standard of advanced music education.
Kholopov's political views and his ethical and aesthetic principles are formulated in a programmatic article about Edison Denisov:
"Denisov also became a witness of a really terrible epoch – the crash of Russia in 90es. Being far from a policy, he could not see, of course, everything that really occurred in his fatherland [...]. Nevertheless, it is quite sure, he would keep his ideological and artistic position and would resist to "democratic" tendencies of disintegration, amoralism, unscrupulousness and a profit cult. It is possible to draw an analogy between Denisov' position and that of Olivier Messiaen, when the last was imprisoned into a concentration camp. [...] Ethical and aesthetic principles of Denisov's personality concorded very well with his life, strong physical and mental health of that Siberian, with his kind smile, steady affability and correct manner, with normal human cheerfulness. Just imagine it: a man of 65, the world famous composer in his Moscow apartment with a young wife and two funny little girls, his daughters: that is a psychological paradigm of Denisov's music which was vitally normal, sincerely healthy, beautiful, refined, bright, inner steady" (Ju. N. Kholopov. Edison Denisov i muzika kontsa veka [Edison Denisov and music of the end of the century]. In: Svet. Dobro. Vechnost'. Pamyati Edisona Denisova. Stat’i. Vospominaniya. Dokumenti [Light. Kindness. Eternity. Edison Denisov in memoriam. Articles. Recollections. Materials], ed. by V.Tsenova. Moscow, 1999, pp. 6–7).
Selected books
Comment. All Kholopov's books are originally written in Russian
Modern Features of Prokofiev's Harmony. Moscow: Muzyka, 1967. Orig. title: Современные черты гармонии Прокофьева
Essays on Contemporary Harmony. Moscow: Muzyka, 1974. Orig. title: Очерки современной гармонии
(with Valentina Kholopova) Anton Webern. Life and Work. Moscow: Sovetskij Kompozitor, 1984; Berlin, 1989 (In German); Milano, 1990 (In Italian). Orig. title: Антон Веберн. Жизнь и творчество
Harmony. Theoretical Course. Moscow: Muzyka, 1988; 2nd ed. revised, Saint Petersburg: Lan', 2003. Orig. title: Гармония. Теоретический курс
An attempt by Kholopov to upbuild a doctrine of the musical-historic process turned out unsuccessful.[1] It has been claimed that it is tautological, fantastic and even chimeric.[2] An attempt to mitigate these rigid assessments of the concept was ended in recognition as a mythical[3] this brave and unsuccessful storming the problem by Yuri Nikolayevich.[4]
In propensity of Kholopov to the myth-making can make sure everyone, who read the fantastic chimera «rainbow spectrum of intervals» in Kholopov's definition of the natural harmonic series.[5]
^Шип 2013, p. 25: «Kholopovian formulation is depressing first of all by frank tautologihood: the rise "explained" as a movement from lower to higher. Is discouraging also that the author does not disclose his understanding of "organization".He doesn't even put the question on the method of commensuration "organization" of different stages of movement "onward and upward". Therefore also the idea that in the development of musical thinking is dominated the principle of rising, hangs in the air. Even if the historic shift from "less organized" to "more organized" of music state actually exists, it is not clear exactly how it is due to the declared four pairs of opposites. To this blurred picture of musical progress Kholopov added a hint-judgment about the 300-year periodic cycles in the history of music. However, any arguments, or at least examples-illustrations, the author hasn't cited. To voiced a fantastic statements musicologist added one more chimera. (Russian: Холоповская формулировка удручает прежде всего откровенной тавтологичностью: подъем "разъясняется" как движение от низшего к высшему. Обескураживает и то, что автор никак не раскрывает своего понимания "организованности". Он даже не ставит вопрос о способе соизмерения "организованности" разных стадий движения "вперед и вверх". Поэтому и тезис о том, что в развитии музыкального мышления доминирует принцип подъема, повисает в воздухе. Если даже исторический переход от "менее организованного" к "более организованному" состоянию музыки на самом деле существует, то не ясно, как именно он обусловлен заявленными четырьмя парами противоположностей. К этой расплывчатой картине музыкального прогресса Холопов добавил суждение-намек о 300-летних периодических циклах в истории музыки. Однако никаких аргументов, или хотя бы примеров-иллюстраций автор не привел. К высказанным фантастическим положениям музыковед добавил еще одну химеру.)»
^Зенкин 2014, p. 14: «we'll not name the whole concept a "chimera", as does Шип, but we'll name a myth of his own name – the myth, to which is possible to believe or not believe (Russian: мы не станем называть всю концепцию "химерой", как это делает Шип, а назовем миф его собственным именем — мифом, в который можно верить или не верить.)»
^Шип 2013, p. 27: «The article by Yu. Kholopov may serve as an example desperately brave, but in general a completely unsuccessful storming the problem of determining a universal logic of musical-historic process. (Russian: Статья Ю. Холопова может служить образцом отчаянно смелого, но в целом полностью неудачного штурма проблемы определения всеобщей логики музыкально-исторического процесса.)»
^Холопов 2003, p. 12: «The harmonically constructed sounding body gives the rainbow spectrum of intervals, the numerical order which allows all of them to merge into a single musical sound, as it contains a kernel of the whole musical harmony. This spectrum is called the natural scale (to highlight the natural character of musical harmony), or harmonic series (Russian: Гармонически устроенное звучащее тело дает радужный спектр интервалов, числовая упорядоченность которых позволяет всем им сливаться в единый музыкальный звук, как бы содержащий в себе ядро всей музыкальной гармонии. Такой спектр называется натуральным звукорядом (чем подчеркивается природный характер музыкальной гармонии), или гармоническим рядом)»
References
Зенкин, К. В. (2014). Амрахова, А. А.; Горбатов, Д. Б. (eds.). "О некоторых методологических особенностях изучения музыки: по следам трудов русских ученых" [On Some Methodological Features of Studying Music: in the Wake of the Works of Russian Scientists] (PDF). Журнал Общества теории музыки (in Russian). Moscow: Общество теории музыки. 5 (1): 14. ISSN 2308-1333. Retrieved June 18, 2015.
Холопов, Ю. Н. (2003). Сандулов, Ю. А.; Шапиро, С. Л.; Елькина, У. А. (eds.). Harmony: Theoretical course: Textbook(PDF) (in Russian). Saint Petersburg, Moscow, Krasnodar: Издательство «Лань». ISBN5-8114-0516-2. Retrieved June 20, 2015.
Холопов, Ю. (1982). Гольцман, А. М.; Тараканов, М. Е. (eds.). "Изменяющееся и неизменное в эволюции музыкального мышления" [Changing and Unchangeable in the Evolution of Musical Thinking]. Проблемы традиций и новаторства в современной музыке (in Russian). Moscow: Советский композитор: 52–104. Retrieved June 18, 2015.
Шип, C. (2013). Бочаров, Ю. С. (ed.). "Ищем логику музыкально-исторического процесса" [Are looking for the logic of musical-historic process] (PDF). Учёные записки Российской академии музыки имени Гнесиных (in Russian). Moscow: Российская академия музыки имени Гнесиных. 4 (1): 27. ISSN 2227-9997. Retrieved June 18, 2015.
External links
'Yuri Kholopov' memorial site; electronic library of his publications
his book on Denisov at the Ernst Kuhn’s site
obituary by Gerard McBurney
February 01, 2023
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This article may require cleanup to meet Wikipedia s quality standards The specific problem is bad phrasing Please help improve this article if you can March 2020 Learn how and when to remove this template message Yuri Nikolaevich Kholopov Russian Yu rij Nikola evich Holopov Yury Holopov August 14 1932 Ryazan April 24 2003 Moscow was a Russian musicologist and educator Yuri Kholopov in 2001 Moscow Contents 1 Biography 2 Selected books 3 Selected articles 4 Criticism 5 Notes 6 References 7 External linksBiography EditAfter graduating from Ryazan Music Regional College he studied at the Moscow Conservatoire from 1949 to 1954 with Igor Sposobin and then with Semyon Bogatyrev completing his master s degree in 1960 In 1963 he became a member of the Composers Union of the USSR He presented his PhD thesis in 1975 with a monograph Contemporary Aspects of Harmony in Music of Prokofiev printed earlier in 1967 and the Doctorate Degree thesis in 1977 with a monograph Essays in Contemporary Harmony printed in 1974 His important research of life and music of Anton von Webern was printed in two volumes in 1973 and 1975 in collaboration with his sister Valentina Kholopova He taught at the Tchaikovsky Conservatory Moscow since 1960 where he became a professor in 1983 His teaching was highly influential for several generations of musicians He has written more than 1000 works 800 of which have been published practically on all aspects of music theory Especially important were his textbooks of harmony both theoretical and practical studies which have been now commonly recognized in Russia as a standard of advanced music education Kholopov s political views and his ethical and aesthetic principles are formulated in a programmatic article about Edison Denisov Denisov also became a witness of a really terrible epoch the crash of Russia in 90es Being far from a policy he could not see of course everything that really occurred in his fatherland Nevertheless it is quite sure he would keep his ideological and artistic position and would resist to democratic tendencies of disintegration amoralism unscrupulousness and a profit cult It is possible to draw an analogy between Denisov position and that of Olivier Messiaen when the last was imprisoned into a concentration camp Ethical and aesthetic principles of Denisov s personality concorded very well with his life strong physical and mental health of that Siberian with his kind smile steady affability and correct manner with normal human cheerfulness Just imagine it a man of 65 the world famous composer in his Moscow apartment with a young wife and two funny little girls his daughters that is a psychological paradigm of Denisov smusic which was vitally normal sincerely healthy beautiful refined bright inner steady Ju N Kholopov Edison Denisov i muzika kontsa veka Edison Denisov and music of the end of the century In Svet Dobro Vechnost Pamyati Edisona Denisova Stat i Vospominaniya Dokumenti Light Kindness Eternity Edison Denisov in memoriam Articles Recollections Materials ed by V Tsenova Moscow 1999 pp 6 7 Selected books EditComment All Kholopov s books are originally written in Russian Modern Features of Prokofiev s Harmony Moscow Muzyka 1967 Orig title Sovremennye cherty garmonii Prokofeva Essays on Contemporary Harmony Moscow Muzyka 1974 Orig title Ocherki sovremennoj garmonii with Valentina Kholopova Anton Webern Life and Work Moscow Sovetskij Kompozitor 1984 Berlin 1989 In German Milano 1990 In Italian Orig title Anton Vebern Zhizn i tvorchestvo Harmony Theoretical Course Moscow Muzyka 1988 2nd ed revised Saint Petersburg Lan 2003 Orig title Garmoniya Teoreticheskij kurs with Valeria Tsenova Edison Denisov Moscow Kompozitor 1993 Amsterdam Harwood Academic Publishers 1995 In English Orig title Edison Denisov with Valentina Kholopova Music of Webern Moscow Kompozitor 1999 Orig title Muzyka Veberna with Valeria Tsenova Edison Denisov the Russian Voice in European New Music Berlin Verlag Ernst Kuhn 2002 In English Harmony Practical Course 2 vls Moscow Kompozitor 2003 2nd ed Moscow 2005 Orig title Garmoniya Prakticheskij kurs Music Theory of Heinrich Schenker Moscow Kompozitor 2006 Orig title Muzykalno teoreticheskaya sistema Hajnriha Shenkera Introduction to Musical Form Ed by T Kyuregyan and V Tsenova Moscow Moscow Conservatory 2006 Orig title Vvedenie v muzykalnuyu formu Harmonic analysis 3 vls Moscow Muzyka 1996 2001 2009 Orig title Garmonicheskij analiz Selected articles EditPhilip Gershkovich s search for the lost essence of music also List of Philip Gershkovich s musicological research studies List of Philip Gershkovich s musical compositions Some of Philip Gershkovich s aphorisms In Ex oriente III Eight Composers from the former USSR Philip Gershkovich Boris Tishchenko Leonid Grabovsky Alexander Knaifel Vladislav Shoot Alexander Vustin Alexander Raskatov Sergei Pavlenko Edited by Valeria Tsenova English edition only studia slavica musicologica Bd 31 Verlag Ernst Kuhn Berlin ISBN 3 928864 92 0 Russians in England Dmitri Smirnov Elena Firsova Article in Music From the Former USSR Issue 2 Moscow Composer 1996 pp 255 303 in Russian also in Ex oriente I Ten Composers from the former USSR Viktor Suslin Dmitri Smirnov Arvo Part Yury Kasparov Galina Ustvolskaya Nikolai Sidelnikov Elena Firsova Vladimir Martynov Andrei Eshpai Boris Chaikovsky Edited by Valeria Tsenova studia slavica musicologica Bd 25 Verlag Ernst Kuhn Berlin ISBN 3 928864 84 X pp 207 266 in English Criticism EditAn attempt by Kholopov to upbuild a doctrine of the musical historic process turned out unsuccessful 1 It has been claimed that it is tautological fantastic and even chimeric 2 An attempt to mitigate these rigid assessments of the concept was ended in recognition as a mythical 3 this brave and unsuccessful storming the problem by Yuri Nikolayevich 4 In propensity of Kholopov to the myth making can make sure everyone who read the fantastic chimera rainbow spectrum of intervals in Kholopov s definition of the natural harmonic series 5 Notes Edit Holopov 1982 pp 52 104 Ship 2013 p 25 Kholopovian formulation is depressing first of all by frank tautologihood the rise explained as a movement from lower to higher Is discouraging also that the author does not disclose his understanding of organization He doesn t even put the question on the method of commensuration organization of different stages of movement onward and upward Therefore also the idea that in the development of musical thinking is dominated the principle of rising hangs in the air Even if the historic shift from less organized to more organized of music state actually exists it is not clear exactly how it is due to the declared four pairs of opposites To this blurred picture of musical progress Kholopov added a hint judgment about the 300 year periodic cycles in the history of music However any arguments or at least examples illustrations the author hasn t cited To voiced a fantastic statements musicologist added one more chimera Russian Holopovskaya formulirovka udruchaet prezhde vsego otkrovennoj tavtologichnostyu podem razyasnyaetsya kak dvizhenie ot nizshego k vysshemu Obeskurazhivaet i to chto avtor nikak ne raskryvaet svoego ponimaniya organizovannosti On dazhe ne stavit vopros o sposobe soizmereniya organizovannosti raznyh stadij dvizheniya vpered i vverh Poetomu i tezis o tom chto v razvitii muzykalnogo myshleniya dominiruet princip podema povisaet v vozduhe Esli dazhe istoricheskij perehod ot menee organizovannogo k bolee organizovannomu sostoyaniyu muzyki na samom dele sushestvuet to ne yasno kak imenno on obuslovlen zayavlennymi chetyrmya parami protivopolozhnostej K etoj rasplyvchatoj kartine muzykalnogo progressa Holopov dobavil suzhdenie namek o 300 letnih periodicheskih ciklah v istorii muzyki Odnako nikakih argumentov ili hotya by primerov illyustracij avtor ne privel K vyskazannym fantasticheskim polozheniyam muzykoved dobavil eshe odnu himeru Zenkin 2014 p 14 we ll not name the whole concept a chimera as does Ship but we ll name a myth of his own name the myth to which is possible to believe or not believe Russian my ne stanem nazyvat vsyu koncepciyu himeroj kak eto delaet Ship a nazovem mif ego sobstvennym imenem mifom v kotoryj mozhno verit ili ne verit Ship 2013 p 27 The article by Yu Kholopov may serve as an example desperately brave but in general a completely unsuccessful storming the problem of determining a universal logic of musical historic process Russian Statya Yu Holopova mozhet sluzhit obrazcom otchayanno smelogo no v celom polnostyu neudachnogo shturma problemy opredeleniya vseobshej logiki muzykalno istoricheskogo processa Holopov 2003 p 12 The harmonically constructed sounding body gives the rainbow spectrum of intervals the numerical order which allows all of them to merge into a single musical sound as it contains a kernel of the whole musical harmony This spectrum is called the natural scale to highlight the natural character of musical harmony or harmonic series Russian Garmonicheski ustroennoe zvuchashee telo daet raduzhnyj spektr intervalov chislovaya uporyadochennost kotoryh pozvolyaet vsem im slivatsya v edinyj muzykalnyj zvuk kak by soderzhashij v sebe yadro vsej muzykalnoj garmonii Takoj spektr nazyvaetsya naturalnym zvukoryadom chem podcherkivaetsya prirodnyj harakter muzykalnoj garmonii ili garmonicheskim ryadom References EditZenkin K V 2014 Amrahova A A Gorbatov D B eds O nekotoryh metodologicheskih osobennostyah izucheniya muzyki po sledam trudov russkih uchenyh On Some Methodological Features of Studying Music in the Wake of the Works of Russian Scientists PDF Zhurnal Obshestva teorii muzyki in Russian Moscow Obshestvo teorii muzyki 5 1 14 ISSN 2308 1333 Retrieved June 18 2015 Holopov Yu N 2003 Sandulov Yu A Shapiro S L Elkina U A eds Harmony Theoretical course Textbook PDF in Russian Saint Petersburg Moscow Krasnodar Izdatelstvo Lan ISBN 5 8114 0516 2 Retrieved June 20 2015 Holopov Yu 1982 Golcman A M Tarakanov M E eds Izmenyayusheesya i neizmennoe v evolyucii muzykalnogo myshleniya Changing and Unchangeable in the Evolution of Musical Thinking Problemy tradicij i novatorstva v sovremennoj muzyke in Russian Moscow Sovetskij kompozitor 52 104 Retrieved June 18 2015 Ship C 2013 Bocharov Yu S ed Ishem logiku muzykalno istoricheskogo processa Are looking for the logic of musical historic process PDF Uchyonye zapiski Rossijskoj akademii muzyki imeni Gnesinyh in Russian Moscow Rossijskaya akademiya muzyki imeni Gnesinyh 4 1 27 ISSN 2227 9997 Retrieved June 18 2015 External links Edit Yuri Kholopov memorial site electronic library of his publications his book on Denisov at the Ernst Kuhn s site obituary by Gerard McBurney Interview in Russian Retrieved from https en wikipedia org w index php title Yuri Kholopov amp oldid 1047497362, wikipedia, wiki, book, books, library,
