Dénes Bartha (1908–1993), the internationally renowned Hungarian music historian, worked as a music critic for Pester Lloyd, the German-language Budapest daily newspaper between 1939 and 1944. Within the five concert seasons, I found a total of four hundred and sixty-five writings by Bartha in the columns of the newspaper, mostly reviews of concerts and opera performances but also some interviews and theoretical articles. The importance of the articles is enhanced by the fact that they commemorate the performances of such distinguished Hungarian musicians as Béla Bartók, Ernst von Dohnányi, Emil Telmányi, Ede Zathureczky, the Waldbauer–Kerpely String Quartet and the Végh Quartet among others, and they also document guest performances in Budapest by such renowned foreign performers as Herbert von Karajan, Wilhelm Furtwängler, Willem Mengelberg, Hans Knappertsbusch, Clemens Krauss, Edwin Fischer and Walter Gieseking. In 2022, one hundred and twenty articles were published in my Hungarian translation from this extremely valuable and diverse material. In this study, I present the main features of Dénes Bartha's perspective as a music critic, taking examples from the articles included in the volume.
Dénes Bartha（1908–1993），国际著名的匈牙利音乐历史学家，1939年至1944年间担任布达佩斯德语日报Pester Lloyd的音乐评论家。在五个音乐会季中，我在报纸的专栏中总共发现了巴塔的四百六十五篇文章，其中大部分是对音乐会和歌剧表演的评论，也有一些采访和理论文章。这些文章的重要性因其纪念了著名的匈牙利音乐家Béla Bartók、Ernst von Dohnányi、Emil Telmányy、Ede Zathureczky、Waldbauer–Kerpely弦乐四重奏和Végh四重奏等的表演而得到加强，它们还记录了赫伯特·冯·卡拉扬等著名外国演员在布达佩斯的客串演出，威廉·弗特文格勒、威廉·蒙格尔伯格、汉斯·克纳珀茨布施、克莱门斯·克劳斯、埃德温·费舍尔和沃尔特·吉塞金。2022年，我用匈牙利语翻译了120篇文章，这些文章都是从这些极其宝贵和多样化的材料中发表的。在这项研究中，我以该卷中的文章为例，介绍了Dénes Bartha作为音乐评论家视角的主要特征。
{"title":"Musical Life in Budapest during World War II: Music Reviews by Dénes Bartha in Pester Lloyd (1939–1944)","authors":"Anna Scholz","doi":"10.1556/6.2022.00018","DOIUrl":"https://doi.org/10.1556/6.2022.00018","url":null,"abstract":"Dénes Bartha (1908–1993), the internationally renowned Hungarian music historian, worked as a music critic for Pester Lloyd, the German-language Budapest daily newspaper between 1939 and 1944. Within the five concert seasons, I found a total of four hundred and sixty-five writings by Bartha in the columns of the newspaper, mostly reviews of concerts and opera performances but also some interviews and theoretical articles. The importance of the articles is enhanced by the fact that they commemorate the performances of such distinguished Hungarian musicians as Béla Bartók, Ernst von Dohnányi, Emil Telmányi, Ede Zathureczky, the Waldbauer–Kerpely String Quartet and the Végh Quartet among others, and they also document guest performances in Budapest by such renowned foreign performers as Herbert von Karajan, Wilhelm Furtwängler, Willem Mengelberg, Hans Knappertsbusch, Clemens Krauss, Edwin Fischer and Walter Gieseking. In 2022, one hundred and twenty articles were published in my Hungarian translation from this extremely valuable and diverse material. In this study, I present the main features of Dénes Bartha's perspective as a music critic, taking examples from the articles included in the volume.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44157945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What We Talk about When We Talk about Narrativity in Music","authors":"D. Nagy","doi":"10.1556/6.2022.00012","DOIUrl":"https://doi.org/10.1556/6.2022.00012","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44264255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marija Yarko, M. Borysenko, L. Buchok, Maria Karalius
The purpose of this article is to study the continuity of musical thinking professionalization on examples of piano works by Transcarpathian composers, which are very significant for the formation of the Transcarpathian compositional tradition as a historical phenomenon of mastery development by Transcarpathian composers (Zsigmond Lengyel, Dezső Zádor, István Márton, Emil Kobulei, Mykola Popenko, Volodymir Volontyr, Anatoly Zatin, Viktor Telychko) regarding their compliance with the academic norms of musical thinking and with historically composed stylistic invariants. The approach to the research phenomenon is monadological, which means the intention to diagnose a mentally peculiar discourse of the stylistic design, combining the assimilation of historically relevant thought forms and the intonational stock of a multiethnic folklore of the Transcarpathian region. We come to the conclusion that the piano works of Transcarpathian composers reflect a historically determined manoeuvre of “catching up” with the stylistic initiatives of the whole twentieth century with its idea of a global cultural synthesis and reinterpretation/neo-restoration of traditions. It has been found that the starting point for the professionalization of music composition in Transcarpathia was the modern modality of style – a position that is usually characterized as a “post-Romantic reaction” to all the traditional and total renewal of musical thinking in order to innovate. At the same time, for the style-forming initiatives of Transcarpathian composers the discourse of stylization became most relevant – a special type of musical thinking that created the newest representation of the “intonation image of the world” and found its rather original embodiment in the postmodern phase under the guise of “intellectual performance.”
本文旨在以跨喀尔巴阡作曲家的钢琴作品为例，研究音乐思维专业化的连续性，作为跨喀尔巴阡作曲家(Zsigmond Lengyel, dezskov Zádor, István Márton, Emil Kobulei, Mykola Popenko, Volodymir Volontyr, Anatoly Zatin，Viktor Telychko)关于他们是否符合音乐思维的学术规范和历史上作曲的风格不变。研究这一现象的方法是一元论的，这意味着意图诊断一种精神上独特的话语的风格设计，结合同化历史相关的思想形式和跨喀尔巴阡地区多民族民间传说的语调。我们得出的结论是，喀尔巴阡山脉外作曲家的钢琴作品反映了一种历史上确定的策略，即“赶上”整个20世纪的风格倡议，其理念是全球文化综合和重新诠释/新恢复传统。人们发现，跨喀尔巴阡山脉音乐创作专业化的起点是风格的现代形态——这一立场通常被描述为对所有传统和音乐思维的全面更新的“后浪漫主义反应”，以实现创新。与此同时，对于跨喀尔巴阡作曲家的风格形成倡议，风格化的话语变得最相关-一种特殊类型的音乐思维，创造了“世界音阶形象”的最新表现，并在“智力表演”的伪装下在后现代阶段找到了其相当原始的体现。
{"title":"Piano Works of Transcarpathian Composers of the 20th and early 21st Centuries: The Phenomenon Research Algorithms","authors":"Marija Yarko, M. Borysenko, L. Buchok, Maria Karalius","doi":"10.1556/6.2022.00005","DOIUrl":"https://doi.org/10.1556/6.2022.00005","url":null,"abstract":"The purpose of this article is to study the continuity of musical thinking professionalization on examples of piano works by Transcarpathian composers, which are very significant for the formation of the Transcarpathian compositional tradition as a historical phenomenon of mastery development by Transcarpathian composers (Zsigmond Lengyel, Dezső Zádor, István Márton, Emil Kobulei, Mykola Popenko, Volodymir Volontyr, Anatoly Zatin, Viktor Telychko) regarding their compliance with the academic norms of musical thinking and with historically composed stylistic invariants. The approach to the research phenomenon is monadological, which means the intention to diagnose a mentally peculiar discourse of the stylistic design, combining the assimilation of historically relevant thought forms and the intonational stock of a multiethnic folklore of the Transcarpathian region. We come to the conclusion that the piano works of Transcarpathian composers reflect a historically determined manoeuvre of “catching up” with the stylistic initiatives of the whole twentieth century with its idea of a global cultural synthesis and reinterpretation/neo-restoration of traditions. It has been found that the starting point for the professionalization of music composition in Transcarpathia was the modern modality of style – a position that is usually characterized as a “post-Romantic reaction” to all the traditional and total renewal of musical thinking in order to innovate. At the same time, for the style-forming initiatives of Transcarpathian composers the discourse of stylization became most relevant – a special type of musical thinking that created the newest representation of the “intonation image of the world” and found its rather original embodiment in the postmodern phase under the guise of “intellectual performance.”","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46152371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.
{"title":"Ernő Dohnányi: A Discography of the Performer","authors":"Ferenc J. Szabó","doi":"10.1556/6.2022.00003","DOIUrl":"https://doi.org/10.1556/6.2022.00003","url":null,"abstract":"The performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47572487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study examines the earliest data of the history of the organ in Transylvania collected in the past one hundred and fifty years. A thorough examination proved that data, based on incomplete documentation, on erroneous hypotheses or conclusions, had been quite unprofessionally put into contexts to which they had no proven connection. Thus, legends regarding the first representation of an organ, the first organ, the earliest organ builders etc. appeared in the costume of historicity and were widely circulated among different authors.
{"title":"Legende und Wirklichkeit •","authors":"P. Enyedi","doi":"10.1556/6.2022.00006","DOIUrl":"https://doi.org/10.1556/6.2022.00006","url":null,"abstract":"This study examines the earliest data of the history of the organ in Transylvania collected in the past one hundred and fifty years. A thorough examination proved that data, based on incomplete documentation, on erroneous hypotheses or conclusions, had been quite unprofessionally put into contexts to which they had no proven connection. Thus, legends regarding the first representation of an organ, the first organ, the earliest organ builders etc. appeared in the costume of historicity and were widely circulated among different authors.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44532603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ernő Dohnányi, the world-renowned musician, was almost entirely forgotten during the decades between his emigration in 1944 and the change of political regime in Hungary: his name actually disappeared from public cultural knowledge. Though there may have been several explanations for the ignorance, it is not an exaggeration to state that the main reasons behind the tragic gap in his posthumous reception are of a political nature. It is widely known nowadays that during the settlements after World War II, Dohnányi – in his absence – was charged with intellectual collaboration with the Hungarian far right-wing regime. According to the present state of research, the charges were finally withdrawn as they were mostly ungrounded. Yet, the formerly adored artist and central personality in cultural life had become persona non grata for more than 40 years. After the political changes, his oeuvre seemed to be rehabilitated but without a thorough investigation of the charges and their background. This is why political prejudices are currently experienced simultaneously with a total bagatellization of the possible mistakes in his interwar activity. Thus, a systematic research into this subject has become very urgent. This study, which is intended to be a chapter of a full-length monograph on Dohnányi and politics (expected in 2023/24), was founded by the János Bolyai Scholarship of the Hungarian Academy of Sciences, and is one of the very first publications of this project in English. It aims to give a thorough description of the first two years of the official proceeding against Dohnányi at the different investigative levels such as the justificatory committees, public prosecutor, and government ministry.
{"title":"The Accusation of Dohnányi: The Legal Procedure in Hungary, 1945–1946","authors":"Veronika Kusz","doi":"10.1556/6.2022.00001","DOIUrl":"https://doi.org/10.1556/6.2022.00001","url":null,"abstract":"Ernő Dohnányi, the world-renowned musician, was almost entirely forgotten during the decades between his emigration in 1944 and the change of political regime in Hungary: his name actually disappeared from public cultural knowledge. Though there may have been several explanations for the ignorance, it is not an exaggeration to state that the main reasons behind the tragic gap in his posthumous reception are of a political nature. It is widely known nowadays that during the settlements after World War II, Dohnányi – in his absence – was charged with intellectual collaboration with the Hungarian far right-wing regime. According to the present state of research, the charges were finally withdrawn as they were mostly ungrounded. Yet, the formerly adored artist and central personality in cultural life had become persona non grata for more than 40 years. After the political changes, his oeuvre seemed to be rehabilitated but without a thorough investigation of the charges and their background. This is why political prejudices are currently experienced simultaneously with a total bagatellization of the possible mistakes in his interwar activity. Thus, a systematic research into this subject has become very urgent. This study, which is intended to be a chapter of a full-length monograph on Dohnányi and politics (expected in 2023/24), was founded by the János Bolyai Scholarship of the Hungarian Academy of Sciences, and is one of the very first publications of this project in English. It aims to give a thorough description of the first two years of the official proceeding against Dohnányi at the different investigative levels such as the justificatory committees, public prosecutor, and government ministry.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44777911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the first seasons of the Royal Academy of Music in London, its directors saw George Frideric Handel as one among several composers whose style reflected expectations of what Italian opera in London should be like. At one point, Handel’s slightly older Italian contemporaries Giovanni Bononcini and Attilio Ariosti were in equal positions to compete for success. This paper will focus on Attilio Ariosti as the seemingly most moderate party in the rivalry between the three composers to see if the specificities of the centers he was active in affected his output in the realm of the vocal duet, a less common and somewhat less important constituent of dramatic vocal genres as opposed to the dominant arias. The examination of duets in some of Ariosti’s works written for Berlin, Vienna, and London, and some comparisons with the duets by both Bononcini and Handel will shed a light on these relationships affected by competition and rivalry.
在伦敦皇家音乐学院(Royal Academy of Music)的第一季，学院的导演们将乔治·弗里德里克·亨德尔(George Frideric Handel)视为几位作曲家之一，他们的风格反映了人们对伦敦意大利歌剧应该是什么样的期望。在某种程度上，与亨德尔年龄稍大的意大利同辈乔瓦尼·波农西尼和阿提利奥·阿里奥斯蒂在竞争成功方面处于同等地位。这篇论文将聚焦于Attilio Ariosti作为三位作曲家之间竞争中看似最温和的一方，看看他活跃的中心的特殊性是否影响了他在声乐二重唱领域的产出，这是一种不太常见也不太重要的戏剧声乐流派，与主要的咏叹调相反。研究阿里奥斯蒂为柏林、维也纳和伦敦创作的一些作品中的二重奏，并将其与波农西尼和亨德尔的二重奏进行比较，将有助于揭示受竞争和对抗影响的这些关系。
{"title":"Attilio Ariosti as a Composer of Vocal Duets","authors":"Ivan Ćurković","doi":"10.1556/6.2022.00007","DOIUrl":"https://doi.org/10.1556/6.2022.00007","url":null,"abstract":"In the first seasons of the Royal Academy of Music in London, its directors saw George Frideric Handel as one among several composers whose style reflected expectations of what Italian opera in London should be like. At one point, Handel’s slightly older Italian contemporaries Giovanni Bononcini and Attilio Ariosti were in equal positions to compete for success. This paper will focus on Attilio Ariosti as the seemingly most moderate party in the rivalry between the three composers to see if the specificities of the centers he was active in affected his output in the realm of the vocal duet, a less common and somewhat less important constituent of dramatic vocal genres as opposed to the dominant arias. The examination of duets in some of Ariosti’s works written for Berlin, Vienna, and London, and some comparisons with the duets by both Bononcini and Handel will shed a light on these relationships affected by competition and rivalry.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47483902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.”1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage.2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.
{"title":"Before The Wooden Prince: Károly Szabados's Ballet Vióra (1891) in the Context of the History of Hungarian Ballet","authors":"Hedvig Ujvári","doi":"10.1556/6.2022.00004","DOIUrl":"https://doi.org/10.1556/6.2022.00004","url":null,"abstract":"Following the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.”1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage.2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42745793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers a phenomenological description of Béla Bartók's Improvisation op. 20 no. 3, with a focus on temporality as experienced in listening. Such a description aims at understanding the structure of eventings, through which we encounter and experience, grasp and take up the work's Gestalt in time as a singular dynamic whole, which is its being as becoming, its presentation in its idea and form. As a result, what we hear, perceive and understand as we listen to the work is revealed as the unfolding of a complex network of intersecting eventings, the crossing of contrarily directed motions, interpenetration of intonations and gestures, circularities on different perceptual levels from delaying and returning notes, intonations, gestures and themes, to thematic repetition and variation, their recallings and cross-referencing. These micro-eventings yield eventings on a larger perceptual level that include ternarity, cyclicity in its broadest sense and a concentric concave-shaped contour. This is the work's Gestalt; the unique balance as ratio, correlation and interrelation, not equilibrium, of all these eventings and temporalities.
{"title":"Music Analysis as a Description of Eventing in Time: A Phenomenological Description of Bartók's Improvisation op. 20 no. 3","authors":"Iyad Mohammad","doi":"10.1556/6.2022.00002","DOIUrl":"https://doi.org/10.1556/6.2022.00002","url":null,"abstract":"This article offers a phenomenological description of Béla Bartók's Improvisation op. 20 no. 3, with a focus on temporality as experienced in listening. Such a description aims at understanding the structure of eventings, through which we encounter and experience, grasp and take up the work's Gestalt in time as a singular dynamic whole, which is its being as becoming, its presentation in its idea and form. As a result, what we hear, perceive and understand as we listen to the work is revealed as the unfolding of a complex network of intersecting eventings, the crossing of contrarily directed motions, interpenetration of intonations and gestures, circularities on different perceptual levels from delaying and returning notes, intonations, gestures and themes, to thematic repetition and variation, their recallings and cross-referencing. These micro-eventings yield eventings on a larger perceptual level that include ternarity, cyclicity in its broadest sense and a concentric concave-shaped contour. This is the work's Gestalt; the unique balance as ratio, correlation and interrelation, not equilibrium, of all these eventings and temporalities.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43612254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As already pointed out by László Somfai in the late 1980s, Béla Bartók's first fully developed five-movement realization of the so-called “bridge” or “palindrome” form was only an afterthought, a further development of a composition originally intended as a cycle of four movements only. As also discussed briefly by Somfai, the evolution of the Allegretto, pizzicato movement itself had distinct stages. A recently surfaced source further clarifies these compositional phases, among others confirms the existence of a 140-measure-long version without a proper conclusion, which, at one point, the composer considered as a definitive version (for which only the ending needed to be composed) and tested with the Waldbauer-Kerpely Quartet. The present article re-examines the compositional process of Bartók's String Quartet no. 4 with an emphasis on its additional fourth movement and discusses the different compositional phases of the Allegretto, pizzicato.
{"title":"The Fourth of the Fourth: On the Genesis and the Early Performances of the Allegretto, pizzicato Movement of Béla Bartók's String Quartet No. 4","authors":"Zsombor Németh","doi":"10.1556/6.2021.00019","DOIUrl":"https://doi.org/10.1556/6.2021.00019","url":null,"abstract":"\u0000 As already pointed out by László Somfai in the late 1980s, Béla Bartók's first fully developed five-movement realization of the so-called “bridge” or “palindrome” form was only an afterthought, a further development of a composition originally intended as a cycle of four movements only. As also discussed briefly by Somfai, the evolution of the Allegretto, pizzicato movement itself had distinct stages. A recently surfaced source further clarifies these compositional phases, among others confirms the existence of a 140-measure-long version without a proper conclusion, which, at one point, the composer considered as a definitive version (for which only the ending needed to be composed) and tested with the Waldbauer-Kerpely Quartet. The present article re-examines the compositional process of Bartók's String Quartet no. 4 with an emphasis on its additional fourth movement and discusses the different compositional phases of the Allegretto, pizzicato.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44342606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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