Anna V. Klepova

In 2007 she graduated from the Special Piano Department of the Music College in the town of Sudzha (class of N. M. Pletnyova).

In 2007–2012 she studied at the Gnesin Russian Academy of Music, specialising in composition and orchestration with G. V. Chernov, polyphony with E. V. Vyazkova, computer music with V. S. Ulyanich, orchestral styles with A. L. Larin, and music history with A. I. Tikhonova, M. G. Raku, V. B. Val’kova, E. E. Durandina, Yu. V. Vasil’yeva, and N. V. Zabolotnaya; she also studied harmony and form analysis with A. P. Astakhov and E. P. Fedosova. In 2015 she completed postgraduate studies at the Gnesin Russian Academy of Music (class of T. V. Tsaregradskaya).

She is a laureate of all‑Russian composition competitions, including those named after D. D. Shostakovich (2008), Shishakov (2009), and the Ninth Youth Delphic Games of Russia (2010).

Works by A. V. Klepova have been performed at international and Russian contemporary‑music festivals, among them «Harp Art of Russia», «Svetozvony», «What Young Composers Are Writing», and «Moscow Autumn».

Since 2015 she has been a member of the Moscow Union of Composers.

She began her teaching career in 2009 at the Alekseyevsky Children’s Creative Centre, where she taught composition. She is the author of the additional educational programme for children and teenagers «Young Composer», recommended for implementation by the Moscow City Department of Education. She has repeatedly served as a member and chair of juries at children’s competitions and festivals in Moscow and across Russia.

Since 2014 she has taught at the Gnesin Russian Academy of Music. She gives lecture courses in «Polyphony», «Theory of Musical Content», «History of Operetta and Musical Theatre», «Music of the Second Half of the Twentieth and Twenty‑First Centuries», and «Popular Musical Culture».

In 2016 she defended her Candidate of Art Studies dissertation «The Electroacoustic Composition of Iannis Xenakis» (supervisor: T. V. Tsaregradskaya). Her research interests include the theory and history of music of the twentieth and twenty‑first centuries and polyphony. She has presented numerous papers at international and all‑Russian conferences (Moscow, St Petersburg, Kursk, Kazan) and acts as an official opponent on dissertation councils.

Since 2017 she has been editor of the online periodical of the Gnesin Russian Academy of Music «Sovremennyye problemy muzykoznaniya» («Contemporary Musicology Issues»).

Information on the teacher’s publications, participation in competitions, conferences, festivals, etc.:

Scholarly works:

• A. V. Stoyanova, «“Deconstruction” of the Symphony Orchestra in the Electroacoustic Composition of Xenakis», Sovremennyye problemy muzykoznaniya («Contemporary Musicology Issues»), 2017, no. 4, pp. 56–65.
• A. V. Stoyanova, «Timeless and Time‑Based Structures in Analogique B (from the mixed composition Analogique A&B by Xenakis)» [electronic resource], Mezhdunarodnyy zhurnal issledovaniy kultury («International Journal of Cultural Research»): «Sound in Culture. Current Trends in Sound Studies», no. 3 (28), 2017, URL: http://www.culturalresearch.ru/ru/curr-issue.
• A. V. Stoyanova, «The Significance of Authorial Graphic Sketches in Analysing the Electroacoustic Composition La Légende d’Eer by Iannis Xenakis», in Tekhnika muzykal’nogo sochineniya v raz’yasneniyakh avtora («The Technique of Musical Composition in the Composer’s Explanations»), proceedings of the international conference, Moscow, Gnesin Russian Academy of Music, 2016, pp. 105–119.
• A. V. Stoyanova, «Interaction of Text and Sound in the Electroacoustic Version of Pour la Paix by Xenakis», Dom Burganova. Prostranstvo kultury («Burganov House. The Space of Culture»), 2016, no. 1, pp. 228–243.
• Electroacoustic Music of Xenakis. Author’s abstract of a Candidate of Art Studies dissertation, Moscow, 2016, 1 printer’s sheet.
• A. V. Stoyanova, «Visual Music as a Phenomenon of Iannis Xenakis’s Worldview», in Filosofiya i iskusstvo («Philosophy and Art»), proceedings of the Fourth International Conference (ed. T. P. Zaborskikh), Moscow, Gnesin Russian Academy of Music, 2015, pp. 197–204.
• A. V. Stoyanova, «The Electroacoustic Composition of Xenakis: On a Method for Analysing the Graphic Score (on the Example of Mycènes alpha)», Nauchnyy vestnik Moskovskoy konservatorii («Scholarly Bulletin of the Moscow Conservatoire»), 2015, no. 3, pp. 174–191.
• A. V. Stoyanova, «Works for UPIC by Xenakis», in Issledovaniya molodykh muzykovedov («Research of Young Musicologists»), proceedings of the all‑Russian scholarly conference of postgraduate students and students (3–4 April 2014), Moscow, Gnesin Russian Academy of Music, 2014, pp. 97–106.
• A. V. Stoyanova, «Order from Chaos: Xenakis and His Idea of Dynamic Stochastic Synthesis», in Filosofiya i iskusstvo («Philosophy and Art»), proceedings of the Third International Conference, Moscow, Gnesin Russian Academy of Music, 2014, pp. 137–141.
• A. V. Stoyanova, «On the Evolution of Electroacoustic Music: Xenakis in Historical Context», Muzyka i vremya («Music and Time»), 2014, no. 2, pp. 16–22.
• A. V. Stoyanova, «“Diamorphoses” by Xenakis in the Mirror of His Philosophical Views: An Attempt at Analysing an Electroacoustic Composition», in Issledovaniya molodykh muzykovedov («Research of Young Musicologists»), proceedings of the all‑Russian scholarly conference of postgraduate students and students (28–29 March 2013), Moscow, Gnesin Russian Academy of Music, 2013, pp. 123–128.
• A. V. Stoyanova, «O harp, My Beloved Friend», Igrayem s nachala («We Play from the Beginning»), 2013, no. 5, p. 23.
• A. V. Stoyanova, «Spring–Competition–Electronics», Igrayem s nachala («We Play from the Beginning»), 2013, no. 9.

Scholarly‑methodological works:

• Young Composer. Additional general‑education programme, approved by the Moscow City Department of Education, 2014, 29 pp.

Scholarly conferences, 2013–2017:

• «A Conference through the Eyes of an Organiser and Participant», paper given at the round table of the international scholarly conference «Musicology in the Cultural Context», dedicated to the approaching 75th anniversary of the Gnesin Russian Academy of Music, Moscow, Gnesin Russian Academy of Music, 2 November 2018.
• «Electroacoustics within the System of Conventional Musicological Concepts», paper at the international scholarly conference «Problems of Methodology in Art Studies», Moscow Tchaikovsky State Conservatoire, 14 March 2018.
• «Deconstruction of the Symphony Orchestra in the Electroacoustic Composition of Xenakis», paper at the all‑Russian conference «The Technique of Musical Composition: One’s Own and the Other’s», Gnesin Russian Academy of Music, 20–21 April 2018.
• «The Living and the Non‑Living in the Ballet of Xenakis», paper at the international scholarly‑practical conference «Contemporary Problems of Ensemble and Orchestral Thinking», Kazan, 21–22 November 2017.
• «“Deconstruction” of the Symphony Orchestra in the Electroacoustic Composition of Xenakis», paper at the all‑Russian scholarly conference «One’s Own and the Other’s», Moscow, 20–21 April 2017.
• «On the Problem of Periodising the Electroacoustic Output of Xenakis» [electronic resource], paper at the international online conference «Musicology in a Unified Cultural Space», URL: http://gnesinstudy.ru/?cat=26.
• «Interaction of Text and Sound in Pour la Paix (Fourth Version)», poster presentation at the international scholarly seminar «Language, Music, and Computer Technologies», St Petersburg, 20–22 April 2015.
• «The Significance of Authorial Graphic Sketches in Analysing the Electroacoustic Composition La Légende d’Eer by Iannis Xenakis», paper at the international conference «The Technique of Musical Composition in the Composer’s Explanations», Moscow, 16–17 April 2015.
• «Visual Music as a Phenomenon of Iannis Xenakis’s Worldview», paper at the Fourth International Conference «Philosophy and Art», Moscow, 22 April 2014.
• «Works for UPIC by Xenakis», paper at the all‑Russian scholarly conference of postgraduate students and students, Moscow, 3–4 April 2014.
• «Order from Chaos: Xenakis and His Idea of Dynamic Stochastic Synthesis», paper at the Third International Conference «Philosophy and Art», Moscow, 25 April 2013.
• «“Diamorphoses” by Xenakis in the Mirror of His Philosophical Views: An Attempt at Analysing an Electroacoustic Composition», paper at the all‑Russian scholarly conference of postgraduate students and students, Moscow, 28–29 March 2013.

Participation in concerts and festivals:

• International Festival of Contemporary Music «Moscow Autumn 2017».
• International Festival of Contemporary Music «Moscow Autumn 2015».
• Festival of New Russian Music «What Young Composers Are Writing 20 Years Later» (concert of 27 November 2014, Music Salon of the Shuvalova House).
• Harp Master Festspiele, 4 August 2014, Münchenbuchsee (Switzerland).
• Concert‑tribute to Ray Bradbury «The Illustrated Man», 22 June 2014, Evangelical‑Lutheran Cathedral of St Peter and Paul.
• Concert‑tribute to Ray Bradbury «The Illustrated Man», 17 June 2014, Concert Hall on Kislovka.
• Third Moscow Music Festival «Svetozvony» (concert of 4 April 2014, Small Hall of the Gnesin Russian Academy of Music).
• Concert «Monologues and More», 27 October 2013, Chamber Hall of the Sverdlovsk State Academic Philharmonic.
• Concert «An Evening of World Premieres. For the 85th Anniversary of the Outstanding Harpist O. G. Erdeli», 26 January 2012, Small Hall of the Moscow Tchaikovsky State Conservatoire.
• Concert «Musical Journeys», 26 October 2012, Golitsyn Room.
• Ninth Moscow Festival «Harp Art of Russia» (concert of 8 December 2012, Music Salon of the Shuvalova House).
• First Moscow Music Festival «Svetozvony» (concert of 23 April 2012, Concert Hall on Prechistenka).
• Seventh Moscow Festival «Harp Art of Russia» (concert of 12 December 2010, Music Salon of the Shuvalova House).