Anastasiya I. Maslova

She was born in the Moscow‑region town of Klin, where she began her studies at the P. I. Tchaikovsky Children’s School of Arts, specialising simultaneously in choral singing and piano.

After graduating she entered the Theory Department of the Gnesin State Musical College. Her teachers there included N. V. Boytsova, S. Yu. Lemberg, Z. V. Gumenyuk, T. R. Oganova, M. A. Sudareva, and others.

In 2022 she graduated with honours from the Gnesin Russian Academy of Music, where she studied with I. P. Susidko (major subject, analysis of musical works), L. L. Gerver (polyphony, analytical methods), N. S. Gulyanitskaya (harmony), E. S. Derunets (solfeggio), and N. I. Enukidze, Yu. V. Vasil’yev, and V. B. Val’kova (music history).

She is currently a postgraduate student in the Department of Analytical Musicology at the Gnesin Russian Academy of Music. Her dissertation topic is «Nicola Sala (1713–1801) and the Neapolitan Contrapuntal School», supervised by Doctor of Art Studies, Professor Irina Petrovna Susidko.

She began her teaching career in 2015 at the Klin Cultural and Leisure Centre. From 2018 to 2023 she taught theoretical disciplines at the P. I. Tchaikovsky Children’s School of Arts, and in the 2022–2023 academic year she taught elementary music theory, solfeggio, and harmony at the Gnesin State Musical College.

Since 2023 she has taught at the Gnesin Russian Academy of Music, giving courses in analysis of musical works and polyphony. Since 2021 she has also worked as a research fellow at the P. I. Tchaikovsky State Memorial Musical Museum‑Reserve in Klin.

She is a First‑Prize laureate of the all‑Russian competition «Young Talents of Russia» of the Ministry of Culture of the Russian Federation in the category «Theory and History of Music» (2017). From 2017 to 2022 she was a recipient of a Presidential Grant of the Russian Federation in the field of Art, awarded on a competitive basis.

Participation in scholarly and practical conferences (seminars):

• «Ethnicity in the Formation of the National Music Schools of Spain, England, and Hungary at the Beginning of the Twentieth Century», paper at the Eleventh International Scholarly Conference «Research of Young Musicologists», Gnesin Russian Academy of Music, 10 April 2018.
• «The Fair‑Haired Girl in the Life and Works of Debussy», paper at the Regional Scholarly‑Practical Conference «Female Images in Art», M. I. Glinka Novosibirsk Music College, 21 November 2018.
• «Ksenia Prasolova, “Forgotten Dreams”: The Poetics of the Chamber‑Instrumental Genre», paper at the Eighth International Student Scholarly Conference «Music in the Modern World: Culture, Art, Education», Gnesin Russian Academy of Music, 6 December 2018.
• «Russian Christmas Drama: From Vertep to Oratorio», paper at the all‑Russian scholarly conference for students and postgraduates «Music and Christianity», Moscow Tchaikovsky State Conservatoire, 24 January 2019.
• «The Ballet “El sombrero de tre picos” (1919) and the Spanish Theatrical Tradition of the Sixteenth and Seventeenth Centuries», joint paper with I. P. Susidko at the Second International Scholarly Conference «Polylogue and Synthesis of the Arts: History and Modernity, Theory and Practice. Epochs – Styles – Genres», Rimsky‑Korsakov St Petersburg State Conservatoire, 5 March 2019.
• «The Transformation of the Spanish Theatrical Tradition of the Sixteenth and Seventeenth Centuries in the Stage Works of Manuel de Falla», paper at the International Scholarly‑Practical Conference «Música Ibérica: Interaction of Cultures», Schnittke Moscow State Institute of Music, 23 March 2019.
• «Spanish Theatrical Traditions of the Sixteenth and Seventeenth Centuries in Manuel de Falla’s Ballet “El sombrero de tre picos”», paper at the Twelfth International Scholarly Conference «Research of Young Musicologists», Gnesin Russian Academy of Music, 29 March 2019.
• «Nicola Sala (1713–1801): A Forgotten Master of the Neapolitan Contrapuntal School», paper at the Thirteenth International Scholarly Conference «Research of Young Musicologists», Gnesin Russian Academy of Music, 9–11 April 2020.
• «“Fidelio” (“Leonore”) on the Stage of the Wiener Staatsoper: Original Version or Director’s Theatre?», joint paper with S. B. Bubeyeva, A. A. Vlasov, and E. A. Churilova at the International Scholarly Conference «Musicological Forum 2020», Gnesin Russian Academy of Music, 20 October 2020.
• «Nicola Sala’s Regole del contrappunto pratico in the Context of Counterpoint Theory and Practice in Naples in the Second Half of the Eighteenth Century», paper at the International Youth Scholarly Forum «Lomonosov – 2020», Lomonosov Moscow State University, 24 November 2020.
• «Director’s Theatre and the Classical Operatic Heritage: “Leonore” (“Fidelio”) on the Stage of the Wiener Staatsoper (2020)», paper at the all‑Russian scholarly‑practical conference «Music Theatre in the Twenty‑First Century: Theory, Practice, Pedagogy», Kazan State Conservatoire named after N. G. Zhiganov, 24 November 2020.
• «Metamorphoses of “Fidelio” on the Vienna Opera Stage, 2020: The Original Version», paper at the International Conference «The Musical Epoch of Beethoven and Its Historical Resonance», M. I. Glinka Novosibirsk State Conservatoire, 7 December 2020.
• «Leists and Durantists: On Unknown Pages in the History of Counterpoint», paper at the International Youth Scholarly Forum «Lomonosov – 2021», Lomonosov Moscow State University, 15 April 2021.
• «Il modo di fare le fughe: On the Neapolitan Model of the Fugue in the Eighteenth Century», paper at the International Conference «Musical Composition: Historical Metamorphoses» / International Conference «Musical Composition: Historical Avatars», Gnesin Russian Academy of Music, 15 April 2021.
• «Leonardo Leo’s “La morte d’Abele”: Oratorio in Dialogue with Opera», paper at the Sixth International Scholarly Conference «Opera in the Musical Theatre: History and Modernity», Gnesin Russian Academy of Music, 23 November 2021.
• «Taneyev in the Mozarteum? On the Problem of Textological Analysis of Materials in the Composer’s Archive in Klin», paper at the International Scholarly Conference «Memorial Museums in the Cultural Space of the Nineteenth to Twenty‑First Centuries», P. I. Tchaikovsky State Memorial Musical Museum‑Reserve, 27 October 2022.
• «S. I. Taneyev’s “The Composer’s Birthday”: From Polyphonic Study to Ballet», paper at the International Scholarly Conference «Ballet in the Musical Theatre: History and Modernity», Gnesin Russian Academy of Music, 23 November 2022.
• «S. I. Taneyev’s “The Composer’s Birthday”: A Musical Gift to a Beloved Teacher, 25 April 1892», paper at the Open Scholarly‑Practical Conference dedicated to the bicentenary of K. D. Ushinsky «New Paths of Pedagogical Development in the Arts», P. I. Tchaikovsky Children’s School of Arts, 12 October 2023.
• «The Preludes and Fugues in G‑sharp Minor by P. I. Tchaikovsky and S. I. Taneyev: In Imitation of a Model or a New Paradigm?», paper at the International Scholarly Conference «P. I. Tchaikovsky and His Legacy in the Nineteenth and Twentieth Centuries: The Forgotten and the New», P. I. Tchaikovsky State Memorial Musical Museum‑Reserve, 26 October 2023.

Publications:

• A. I. Maslova, «Spanish Theatrical Traditions of the Sixteenth and Seventeenth Centuries in Manuel de Falla’s Ballet “El sombrero de tre picos”» [electronic resource], in Issledovaniya molodykh muzykovedov («Research of Young Musicologists»), ed. A. Gundorina, 2019, pp. 231–236.
• A. I. Maslova, «Nicola Sala: A Forgotten Master of the Neapolitan Contrapuntal School» [electronic resource], in Issledovaniya molodykh muzykovedov, ed. A. Gundorina, 2020, pp. 96–102.
• A. I. Maslova, «Contrapuntal Battles in Eighteenth‑Century Naples: An Attempt at Historical Reconstruction | Counterpoint Battles in the Eighteenth‑Century Naples: An Attempt at Historical Reconstruction» [electronic resource], Sovremennyye problemy muzykoznaniya («Contemporary Musicology Issues»), 2021, no. 2, pp. 3–38, URL: https://gnesinsjournal.ru/index.php/CM/article/view/32.