{"title":"István Pávai (2020). Hungarian Folk Dance Music of Transylvania","authors":"Dániel Lipták","doi":"10.1556/6.2021.00030","DOIUrl":"https://doi.org/10.1556/6.2021.00030","url":null,"abstract":"","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":"44678465","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":"Anna Dalos (2020). Zoltán Kodály's World of Music","authors":"Simone Hohmaier","doi":"10.1556/6.2021.00027","DOIUrl":"https://doi.org/10.1556/6.2021.00027","url":null,"abstract":"","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":"48511448","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}
Although Sándor Veress achieved his first significant successes in Hungary and abroad at the turn of the 1930s and 1940s, musicological research still remains indebted to the detailed analysis of the composer's career related to the history of Hungarian music and cultural life. Based on press and archival documents, letters and recollections, and the historical literature of the period as well, the present study attempts to explore the socio-cultural environment that characterized and helped to unfold Veress's development. My study looks at the composer's network of contacts, his family ties and the political-ideological movements and relations with the Reformed Church that promoted his career, and examines their direct influence on Sándor Veress's works composed during this period, especially The Miraculous Flute (1937), the Japanese Symphony (1940) and Térszili Katica (1943).
{"title":"The Forgotten Youth of Sándor Veress","authors":"Anna Dalos","doi":"10.1556/6.2021.00021","DOIUrl":"https://doi.org/10.1556/6.2021.00021","url":null,"abstract":"\u0000 Although Sándor Veress achieved his first significant successes in Hungary and abroad at the turn of the 1930s and 1940s, musicological research still remains indebted to the detailed analysis of the composer's career related to the history of Hungarian music and cultural life. Based on press and archival documents, letters and recollections, and the historical literature of the period as well, the present study attempts to explore the socio-cultural environment that characterized and helped to unfold Veress's development. My study looks at the composer's network of contacts, his family ties and the political-ideological movements and relations with the Reformed Church that promoted his career, and examines their direct influence on Sándor Veress's works composed during this period, especially The Miraculous Flute (1937), the Japanese Symphony (1940) and Térszili Katica (1943).","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":"45286693","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 miracle narrative of the first oratorio by C. P. E. Bach – the escape of the people of Israel from the thirst death by Moses – comes from the Book of Exodus. In the course of the second part of the work, however, the figure of Moses is unexpectedly taken over by the Redeemer. The place turns out to be a paraphrase of Genesis 3:15. In the context of the German Enlightenment the biblical story can be interpreted as a reference to the assimilation process of the Jewish community. The composed libretto includes an interpolation, which speaks about the real advent of the Messiah, thus placing the work among the representatives of the messianic-cult of the Enlightenment. The interpolated text section focuses on the religion above religions as imagined by the latitudinarianism of the leading philosophers of the Enlightenment and testifies to the Masonic spirit in it. The text of the final chorus re-interprets the church dedication (the original function of Bach’s oratorio) as the dedication of the invisible Church: the soul.
{"title":"The Invisible Church: C. P. E. Bach, Die Israeliten in der Wüste ‒ A Freemasonic Oratorio?","authors":"Miklós Dolinszky","doi":"10.1556/6.2021.00023","DOIUrl":"https://doi.org/10.1556/6.2021.00023","url":null,"abstract":"\u0000 The miracle narrative of the first oratorio by C. P. E. Bach – the escape of the people of Israel from the thirst death by Moses – comes from the Book of Exodus. In the course of the second part of the work, however, the figure of Moses is unexpectedly taken over by the Redeemer. The place turns out to be a paraphrase of Genesis 3:15. In the context of the German Enlightenment the biblical story can be interpreted as a reference to the assimilation process of the Jewish community. The composed libretto includes an interpolation, which speaks about the real advent of the Messiah, thus placing the work among the representatives of the messianic-cult of the Enlightenment. The interpolated text section focuses on the religion above religions as imagined by the latitudinarianism of the leading philosophers of the Enlightenment and testifies to the Masonic spirit in it. The text of the final chorus re-interprets the church dedication (the original function of Bach’s oratorio) as the dedication of the invisible Church: the soul.","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":"44422915","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 provides new perspectives on Claude Debussy's compositional process in his String Quartet through a fresh examination of existing sources, particularly a sketchbook kept in the Bibliothèque nationale de France. First, the fragmentary nature of the material contained in the sketchbook implies the existence of another manuscript, now lost. By analyzing Debussy's notations for his String Quartet in greater detail, it is possible to question the different functions the latter took on in the compositional process: in addition to the musical ideas simply noted as an aide-memoire, there are more exploratory musical fragments. Furthermore, the description and analysis of the sources of the String Quartet's creative process enhance our knowledge of Debussy's compositional methods and techniques. These new insights into the sources also show how Debussy adapted to certain social and aesthetic constraints when writing the String Quartet. The compositional context, the very genre of the quartet, and the fact that Debussy was close to Chausson and the Société nationale, led him to seek compositional solutions to combine the techniques of the Franck school with the personal aesthetic he was developing at the time. In particular, the article reconstructs part of the composer's reflection on the cyclic design, which is at the heart of the questions raised in the sketches.
{"title":"New Insights into Debussy's Sketches for the String Quartet Op. 10","authors":"François Delécluse","doi":"10.1556/6.2021.00016","DOIUrl":"https://doi.org/10.1556/6.2021.00016","url":null,"abstract":"\u0000 This article provides new perspectives on Claude Debussy's compositional process in his String Quartet through a fresh examination of existing sources, particularly a sketchbook kept in the Bibliothèque nationale de France. First, the fragmentary nature of the material contained in the sketchbook implies the existence of another manuscript, now lost. By analyzing Debussy's notations for his String Quartet in greater detail, it is possible to question the different functions the latter took on in the compositional process: in addition to the musical ideas simply noted as an aide-memoire, there are more exploratory musical fragments. Furthermore, the description and analysis of the sources of the String Quartet's creative process enhance our knowledge of Debussy's compositional methods and techniques. These new insights into the sources also show how Debussy adapted to certain social and aesthetic constraints when writing the String Quartet. The compositional context, the very genre of the quartet, and the fact that Debussy was close to Chausson and the Société nationale, led him to seek compositional solutions to combine the techniques of the Franck school with the personal aesthetic he was developing at the time. In particular, the article reconstructs part of the composer's reflection on the cyclic design, which is at the heart of the questions raised in the sketches.","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":"45794173","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":"Veronika Kusz (2020). A Wayfaring Stranger: Ernst von Dohnányi's American Years, 1949–1960","authors":"W. Everett","doi":"10.1556/6.2021.00026","DOIUrl":"https://doi.org/10.1556/6.2021.00026","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67003871","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 present paper is a preliminary study to a deeper understanding of Bartók's compositional process: how he filled the music paper even if the notation appears continuous. He did not always write the draft from the top-left corner to the bottom-right corner but occasionally skipped some measures or phrases that he intended to write down later. Thus, the continuity draft is not necessarily regarded as a continuity; it might have consisted of fragments but they have been eventually concealed in the final form of the draft. This may directly affect our interpretation of Bartók's creative process. The present research takes the visual appearance of a draft as a clue to examine its hypothetical fragmentariness. Beginning with the examination of some actual blank spaces that were never filled, the paper deals with cases where the original existence of fragments is suggested by the extraordinary appearance of the draft, such as a blank space at the end of a system, notations in the margin, re-organization of bar-lines, etc. Besides systematic approaches to fragmentariness, the author offers some interpretation concerning the reasons why Bartók did not write the draft in an ordinary way. There might have been different explanations for the interruption of the linear compositional process. One of the important findings of this paper is that Bartók's bar-lines do not always mark metric accents but sometimes simply facilitate the performers' orientation. Even though the occasional special function of some of his bar-lines as mere markers of orientation is explained by Bartók in a letter to Rudolf Kolisch, the existence of philological evidence to this effect may further underline its validity and importance.
{"title":"Concealed Fragmentariness: On the Compositional Process of Bartók's String Quartets","authors":"Yusuke Nakahara","doi":"10.1556/6.2021.00017","DOIUrl":"https://doi.org/10.1556/6.2021.00017","url":null,"abstract":"\u0000 The present paper is a preliminary study to a deeper understanding of Bartók's compositional process: how he filled the music paper even if the notation appears continuous. He did not always write the draft from the top-left corner to the bottom-right corner but occasionally skipped some measures or phrases that he intended to write down later. Thus, the continuity draft is not necessarily regarded as a continuity; it might have consisted of fragments but they have been eventually concealed in the final form of the draft. This may directly affect our interpretation of Bartók's creative process. The present research takes the visual appearance of a draft as a clue to examine its hypothetical fragmentariness. Beginning with the examination of some actual blank spaces that were never filled, the paper deals with cases where the original existence of fragments is suggested by the extraordinary appearance of the draft, such as a blank space at the end of a system, notations in the margin, re-organization of bar-lines, etc. Besides systematic approaches to fragmentariness, the author offers some interpretation concerning the reasons why Bartók did not write the draft in an ordinary way. There might have been different explanations for the interruption of the linear compositional process. One of the important findings of this paper is that Bartók's bar-lines do not always mark metric accents but sometimes simply facilitate the performers' orientation. Even though the occasional special function of some of his bar-lines as mere markers of orientation is explained by Bartók in a letter to Rudolf Kolisch, the existence of philological evidence to this effect may further underline its validity and importance.","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":"43290501","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 examines Handel's opera Orlando from the period of the new Royal Academy of Music (1729–1734). Handel's operas contain many compelling musical elements which impart information and contribute to the richness of his dramatic acts. This article illustrates the various components of compositional practices such as harmonic progression, rhythm, key changes, and chromaticism in Orlando. The second part explores the application of his theatrical gesture of opera. His music releases the meaning of the texts and conveys the content of expression to the audience in a unique way. Finally, this article studies and examines the overture and three arias of the character Zoroastro from Handel's Orlando by comparing several adjacent arias as a group. By studying the role of Zoroastro, we will find that Handel's musical language in opera contains a hidden complexity displayed through the following: expression of tonality and key signature; certain qualities or characteristics of a wider range both in the vocal line and orchestra; and application of ostinato and cross-rhythm in order to enhance the textual meaning. The study shall benefit our ongoing comprehension of Handel's power for evoking the audience's interest, attention, and admiration which are identified when listening to, performing, and analyzing his arias.
{"title":"Handel's Magic World: Hidden Complexity in Arias of Zoroastro in Orlando by George Frideric Handel","authors":"Jing Xu","doi":"10.1556/6.2021.00022","DOIUrl":"https://doi.org/10.1556/6.2021.00022","url":null,"abstract":"\u0000 This article examines Handel's opera Orlando from the period of the new Royal Academy of Music (1729–1734). Handel's operas contain many compelling musical elements which impart information and contribute to the richness of his dramatic acts. This article illustrates the various components of compositional practices such as harmonic progression, rhythm, key changes, and chromaticism in Orlando. The second part explores the application of his theatrical gesture of opera. His music releases the meaning of the texts and conveys the content of expression to the audience in a unique way. Finally, this article studies and examines the overture and three arias of the character Zoroastro from Handel's Orlando by comparing several adjacent arias as a group. By studying the role of Zoroastro, we will find that Handel's musical language in opera contains a hidden complexity displayed through the following: expression of tonality and key signature; certain qualities or characteristics of a wider range both in the vocal line and orchestra; and application of ostinato and cross-rhythm in order to enhance the textual meaning. The study shall benefit our ongoing comprehension of Handel's power for evoking the audience's interest, attention, and admiration which are identified when listening to, performing, and analyzing his arias.","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":"49095095","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 movement I of String Quartet no. 5 inversion shapes of the themes are recapitulated in reverse order – probably the most daring concept of a palindromic structure of a sonata-form movement in Bartók's realm. After all, for him a strict hin und zurück form with strong thematic characters was unthinkable. Already the strategy of this opening movement involved danger. If Theme I after a transition leads to Theme II, which leads to Theme III, as a dramatic series of actions, how could the reverse order of these themes be “natural”? To minimize the danger, in this movement Bartók reconsidered the usual dramaturgy of the exposition. Instead of a continuous growth of the musical “scenes” welded together, he presented three thematic blocks very much different in character, heavily punctuated by fragments of the first theme. Therefore, dramatic contrast rather than organic development is the key term, and so the reverse order of the thematic blocks in the recapitulation is less artificial.
在弦乐四重奏第5号的第一乐章中，主题的倒置形状以相反的顺序重述——这可能是Bartók领域中奏鸣曲形式的回文结构中最大胆的概念。毕竟，对他来说，一个具有强烈主题性的严格的hin und zurück形式是不可想象的。这场开放运动的策略已经涉及到危险。如果主题I在一个过渡之后导致主题II，从而导致主题III，作为一系列戏剧性的动作，这些主题的颠倒顺序怎么可能是“自然的”？为了最大限度地减少危险，在这场运动中，Bartók重新考虑了博览会通常的戏剧性。他没有将音乐“场景”不断融合在一起，而是呈现了三个性格迥异的主题块，其中大量穿插着第一个主题的片段。因此，戏剧性的对比而非有机发展是关键术语，因此重述中主题块的颠倒顺序不那么人为。
{"title":"Bartók's Most Daring Concept of a Palindromic Structure: The Sonata-Form Opening Movement of the Fifth Quartet","authors":"L. Somfai","doi":"10.1556/6.2021.00015","DOIUrl":"https://doi.org/10.1556/6.2021.00015","url":null,"abstract":"\u0000 In movement I of String Quartet no. 5 inversion shapes of the themes are recapitulated in reverse order – probably the most daring concept of a palindromic structure of a sonata-form movement in Bartók's realm. After all, for him a strict hin und zurück form with strong thematic characters was unthinkable. Already the strategy of this opening movement involved danger. If Theme I after a transition leads to Theme II, which leads to Theme III, as a dramatic series of actions, how could the reverse order of these themes be “natural”? To minimize the danger, in this movement Bartók reconsidered the usual dramaturgy of the exposition. Instead of a continuous growth of the musical “scenes” welded together, he presented three thematic blocks very much different in character, heavily punctuated by fragments of the first theme. Therefore, dramatic contrast rather than organic development is the key term, and so the reverse order of the thematic blocks in the recapitulation is less artificial.","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":"48107324","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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