Vyacheslav Medushevsky is a Soviet and Russian musicologist, pedagogue, and university teacher. He was born on April 15, 1939, in Moscow. He is a Doctor of Art Studies, a professor of the Moscow Conservatory since 1980, an Honored Artist of Russia, and a researcher of ways of expressing the spiritual life of the human being in musical art.
In 1958, Medushevsky graduated from the Central Music School attached to the Moscow Conservatory, where he studied violin. In 1963, he completed the theory and composition faculty of the Moscow Conservatory in the class of Professor S. S. Skrebkov. In 1966, he finished postgraduate studies at the Moscow Conservatory; his candidate dissertation, defended in 1971, was titled “The Structure of a Musical Work in Connection with Its Orientation Toward the Listener.”
Since 1965, he has taught at the theory and composition faculty of the Moscow Conservatory. He became an associate professor in 1978 and a professor in 1980, where he has taught a course in music analysis. In the 1980s, he worked as scientific director of the Problem Research Laboratory of the Moscow Conservatory. From 1988 to 1990, he served as dean and chairman of the council of the theory and composition faculty of the Moscow Conservatory.
From 1980, Medushevsky was chairman of the All-Union Educational and Methodological Council for Higher Musical Education under the Ministry of Culture of the USSR. His professional activity has been closely connected with the Moscow State Tchaikovsky Conservatory, where he also studied.
Medushevsky's musicological research covers a wide range of themes and problems. These include the spiritual and moral analysis of music, spiritual and moral education and upbringing, the concept of spiritual and moral education through art, and the reflection of prayerful experience in masterpieces of secular music.
His work also addresses the essence and foundations of social pedagogy, the educational possibilities of the natural sciences, the origin and essence of serious music, Christian foundations of sonata form, music therapy as viewed from the depth of music, and music and information technologies.
Other important directions of his scholarship include the problem of semantic syntax understood as artistic modeling of emotions, the theory of communicative functions, musical style as a semiotic object, the human being in the mirror of intonational form, intonational theory in historical perspective, and problems of the essence, evolution, and typology of musical styles.
In 2016, he became a laureate of the national Imperial Culture Prize named after Eduard Volodin.
Connections
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