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Edward Macdowell’s Piano Concerto No. 2 in the Context of the Establishment of the American Branch of the Genre 爱德华·麦克道尔的《第二钢琴协奏曲》:在该流派的美国分支建立的背景下
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.19
O. Antonova
"Research attention in the article is directed to the initial stage of the formation of the American piano concerto, which is represented by two works of Edward MacDowell. Written during the young composer’s stay in Germany, they are firmly based on the traditions of European music and demonstrate mastery of genre models that had formed in the works by Mendelssohn, Schumann, Liszt, Grieg, Saint-Saëns, as well as MacDowell’s teacher – Joachim Raff. The article analyzes the compositional and thematic organization of Piano Concerto No. 2, traces the figurative and stylistic origins of this music, as well as highlights the ratio of instrumental parts and methods of soloing. It was concluded that, in contrast to the First Concerto, where a generalized virtual model of a romantic concerto acts as a reference point for the composer, in the Second one, there is a tangible desire for an individualized reproduction of the interesting findings of the predecessors and advancement along the path of searching for one’s own approach to the embodiment of the genre. Keywords: musical culture of the USA, Edward MacDowell’s creativity, genre models, instrumental concert, European traditions. "
“本文的研究重点是以爱德华·麦克道尔的两首作品为代表的美国钢琴协奏曲形成的最初阶段。这两首作品是这位年轻作曲家在德国期间创作的,它们牢固地建立在欧洲音乐传统的基础上,并展示了对门德尔松、舒曼、李斯特、格里格、圣作品中形成的流派模式的精通-Saëns,以及Macdwell的老师Joachim Raff。本文分析了《第二钢琴协奏曲》的作曲和主题组织,追溯了这首音乐的形象和风格起源,并重点介绍了器乐部分的比例和独奏方法。研究得出的结论是,与《第一协奏曲》不同,在《第二协奏曲》中,浪漫主义协奏曲的广义虚拟模型作为作曲家的参考点,人们渴望个性化地再现前人的有趣发现,并沿着寻找自己的方法来体现这一流派的道路前进。关键词:美国音乐文化,爱德华·麦克道尔的创造力,流派模型,器乐音乐会,欧洲传统。“
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引用次数: 0
Modifying Processuality of Emotions of a Musician-Performer 音乐家-表演者情绪的修饰过程
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.12
V. Zaiets, O. Zaiets
"The essence of this research is to understand the professional and creative specifics of the emotional thinking of a musician-performer. The idea arose from the experience of performing activities, teaching and scientific research in the context of the traditions of performing arts and the theoretical opinion of experts in the field of musicology. The main task consists in substantiating the methodological and theoretical principles, methods of approach to determining the functional features of the emotional tone of a musician-performer as a tool for the formation of professional thinking of a creative personality. In such formulation of the question, it is necessary to proceed from the fact that the problem of human thinking is generally constantly active, meaning that it is in a procedural state as both, an individual person and his/her natural environment, assimilate and generate new emotions (feelings), and, therefore, directly carry out influence on the flow of mental processes. The processuality of this dual dynamic psychological modification is endless, and the disclosure of regularities here also has a timely processual and continuously renewed character. Keywords: feelings, emotions, performance tone, intuition, thinking of a musician-performer."
“这项研究的本质是了解音乐家兼表演者情感思维的专业和创造性特点。这一想法源于表演艺术传统背景下的表演活动、教学和科研经验以及音乐学领域专家的理论意见。本文的主要任务是充实方法和理论原则、方法和方法,以确定音乐家-表演者的情感音调的功能特征,作为形成创造性人格的专业思维的工具。在这种问题的表述中,有必要从这样一个事实出发,即人类思维问题通常是不断活跃的,这意味着它处于一种程序状态,作为个体和他/她的自然环境,吸收和产生新的情绪(感觉),并因此直接对心理过程的流动产生影响。这种双重动态心理修正的过程性是无穷无尽的,规律在这里的揭示也具有及时的过程性和不断更新的特性。关键词:感觉、情绪、演奏基调、直觉、乐手思维
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引用次数: 0
The Variant Method of Composition in the Vocal Works by Franz Liszt 李斯特声乐作品中的变奏法
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.18
Oksana Aleksandrova, Nataliya Govorukhina
"The article is devoted to a variant method of composing music, which became widespread in the composing practice of the twentieth century and has genetic links with the work of Franz Liszt. The variant method is presented as the basis of the composer’s artistic system, as a property of musical logic and form formation. During the functional and structural analysis of the songs of F. Liszt, their typological similarity is revealed, and a classification based on the variant principle of thematic development is proposed. The characteristic of variant-strophic (“An Edlitam” (S. 333; LW. 74)) and variant-phase (“Gebet” (S. 331; LW. №72)) forms is given. The relationship between monothematism and the variant method of composition is revealed. As a result, the genetic connection between the vocal miniature of F. Liszt and the musical art of the 20th century is substantiated. The variant method is presented as a system-forming method at all levels of musical and poetic composition (motif-composition-image-drama-way of thinking). Keywords: variant method, variant form, vocal creativity, composition, the principle of thematic development."
这篇文章专门讨论了一种不同的作曲方法,这种方法在20世纪的作曲实践中广泛应用,与弗朗兹·李斯特的作品有着遗传联系。变奏法是作曲家艺术体系的基础,是音乐逻辑和曲式形成的一种属性。通过对李斯特歌曲的功能和结构分析,揭示了李斯特歌曲的类型学相似性,并提出了一种基于主题发展变型原则的分类方法。变型偏转的特征(“An Edlitam”(S. 333;LW。74))和变相(“Gebet”(S. 331;LW。(72)给出了表格。揭示了单色性与变法构图之间的关系。因此,李斯特的声乐缩影与20世纪音乐艺术之间的遗传联系得到了证实。变奏法在音乐与诗歌创作的各个层面(母题-创作-意象-戏剧-思维方式)中呈现为一种系统的形成方法。关键词:变奏法、变奏形式、声乐创作、作曲、主题发展原则
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引用次数: 0
Coloristic Tonal and Harmonic Compositional Techniques in Zoltán Gárdonyi’s Choral Works for Organ Zoltán Gárdonyi管风琴合唱作品的色彩、调性与和声技法
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.20
János Zsolt Imre
"The topic of this paper is an analysis of two choral works for organ by Zoltán Gárdonyi. The purpose of this work is to reveal the compositional methods and tools used to create coloristic and fascinating tonal and harmonic movements in those two choral works. Alongside, how he crafts his works based on cantus firmus melodies and creates the organ chorals. Keyword: Gárdonyi Zoltán, coloristic compositional technique, leitmotif-like cell, coloristic harmony, organ choral. "
本文的主题是对Zoltán Gárdonyi的两部管风琴合唱作品的分析。这部作品的目的是揭示这两部合唱作品中创造色彩丰富、迷人的调性和和声运动的作曲方法和工具。除此之外,他是如何根据坚定的旋律创作他的作品,并创造管风琴合唱。关键词:Gárdonyi Zoltán,色彩技法,母题细胞,色彩和声,管风琴合唱。
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引用次数: 0
Interpretative Trends of Beethoven’s Ornamentation 贝多芬装饰的解读趋势
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.09
Mihaela Itigan, Stela Drăgulin
"Outstanding representative of the classical music composed in the transition period from XVIIIth to XIXth centuries, Ludwig van Beethoven remains memorable in the history of music through the strength, audacity, and remarkable rhetoric of his musical discourse. With the mastery of a demiurge, he coalesces in the texture of his thematic ideas’ heroic, pathetic or pastoral configurations, making the most of the technical-expressive possibilities of the epoch’s instruments into a authentic instrumental-interpretative manner. Advocate of a prevailingly monumental interpretation, Beethoven will perfect his instrumental style through authentic details which are the subject of the varied attack modes, of ornamentation, articulation, pedaling, etc., which are the personalized elements of a challenging technique. Approaching the aspect of Beethoven’s ornamentation, the present article will bring into focus the identification of the dominant ornamental components and their treatment from an interpretative viewpoint with emphasis on the authenticity of the artistic representation. Keywords: Art & Music, piano, Beethoven’s language, ornamentation, interpretation, authenticity"
路德维希·凡·贝多芬是18世纪到19世纪过渡时期古典音乐的杰出代表,他的音乐话语的力量、大胆和非凡的修辞使他在音乐史上留下了深刻的印象。凭借对造物主的掌握,他在主题思想的纹理中融合了英雄、悲情或田园的配置,使时代乐器的技术表达可能性最大化,成为一种真正的乐器解释方式。贝多芬提倡一种普遍的不朽的诠释,他将通过真实的细节来完善他的器乐风格,这些细节是各种攻击模式,装饰,发音,踏板等的主题,这是一种具有挑战性的技术的个性化元素。接近贝多芬的装饰方面,本文将从解释性的角度关注主要装饰成分的识别及其处理,强调艺术表现的真实性。关键词:艺术与音乐,钢琴,贝多芬的语言,装饰,诠释,真实性
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引用次数: 0
The Musical Style of Sándor Veress’s Four Transylvanian Dances. The Synthesis of ‘Tradition’ and ‘Renewal’ Sándor Veress的四支特兰西瓦尼亚舞曲的音乐风格。“传统”与“更新”的综合
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.01
Miklós Fekete
"The paper examines the style of Sándor Veress in his first compositional period through the dance suite Four Transylvanian Dances, written for string orchestra. Throughout the musical analysis, the paper points out a few compositional principles and techniques, with which the heritage of classical and folk music can be successfully translated into an innovative and progressive contemporary musical language. Keywords: Sándor Veress, style, compositional techniques, analysis, Four Transylvanian Dances."
本文通过为弦乐乐队创作的舞蹈组曲《四支特兰西瓦尼亚舞曲》来考察Sándor Veress在他的第一个作曲时期的风格。在整个音乐分析中,本文指出了一些作曲原则和技巧,这些原则和技巧可以成功地将古典音乐和民间音乐的遗产转化为创新和进步的当代音乐语言。关键词:Sándor Veress,风格,作曲技巧,分析,四支特兰西瓦尼亚舞曲
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引用次数: 0
"[Co]existence as Intersensoriality in the Symphonies of Havasi Balázs " 哈瓦西交响曲中作为感官间性的存在Balázs
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.05
Maria-Roxana Bischin
"We often wonder about piano music. And we're not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. Keywords: Havasi Balázs, piano, contemporary classic music, phenomenology of sound, perception, conscience."
“我们经常对钢琴音乐感到好奇。我们好奇不仅仅是因为它让我们着迷,还因为它迫使我们对生活和声音的隐藏意义提出问题。有好几次,音乐充满了我们的生活。但它如何填满它呢?很多时候,威廉·夏普或迈克尔·谢梅克的诗对作为哲学家的我来说是一个问题。此外,一首Havasi作曲的钢琴曲Balázs会让我们对一首诗或任何让我们着迷的东西产生很多思考。但是,除了心灵之外,还有许多感知共同作用,对音乐的感知做出正确的判断。如果我们想要发现音乐是如何使我们的生活充满意义的,我们就必须用现象学的方法来理解这些意义。现象学有一个独特的答案,因为它找到了事物(这些现象学对象)如何成为的答案。在这篇文章中,我们将展示Havasi Balázs的作品如何通过现象学的美学领域更新,以及它们如何成为当今现象学感知领域的实体。出于这些原因,我们似乎有必要从现象学的角度来看待哈瓦西Balázs所实现的交响曲。关键词:哈瓦西Balázs,钢琴,当代古典音乐,声音现象学,感知,良知。
{"title":"\"[Co]existence as Intersensoriality in the Symphonies of Havasi Balázs \"","authors":"Maria-Roxana Bischin","doi":"10.24193/subbmusica.2023.spiss2.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.05","url":null,"abstract":"\"We often wonder about piano music. And we're not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. Keywords: Havasi Balázs, piano, contemporary classic music, phenomenology of sound, perception, conscience.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Vocal Improvisation – A Cognitive and a Psychological Process 即兴演唱——一个认知和心理过程
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.13
Luiza Zan, Stela Drăgulin
"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process"
“这篇文章的目的是比较在即兴演唱时大脑的神经生理过程和自发创作旋律的心理影响。通过把握当下,同时向观众展示大量的音乐知识和具体的声乐技巧,声乐即兴创作是爵士歌手和爵士声乐教育家感兴趣的广泛领域,其独特的过程尚未得到充分的理解和解释。在我多年的学习和练习声乐即兴创作的过程中,我一直试图理解这两个组成部分之间的平衡——声乐即兴创作的认知坐标和心理坐标,以及这些坐标在表演艺术框架之外对我们日常生活的影响。歌手在自发创作时为什么会做出某些音乐选择,而避免其他选择,以及即兴创作在我们日常生活中很重要的原因,这些原因成为了本研究的对象。关键词:声乐即兴,自发创作,心理过程
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引用次数: 0
Exploring Chinese Cultural Identity in the Liang Zhu Violin Concerto: An Intercultural Perspective on the Adaptation of Traditional Elements in Western Classical Music Language 梁柱小提琴协奏曲中的中国文化认同探析:西方古典音乐语言中传统元素改编的跨文化视角
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.22
M. Suciu, Stela Drăgulin
"This article examines the phenomenon of interculturality through the lens of the Liang Zhu Concerto for Violin and Orchestra by He Zhanhao and Chen Gang. Interculturality is no longer merely a means of elevating the axiological value of a given context but has become a necessity for authenticating contemporary discourse. The role of interculturality in shaping the expression of creative intentions is amplified, as it attenuates divergences determined by the incongruity of individuals’ backgrounds by comprehensively observing the uniqueness of foreign elements from a familiarity-based perspective. The Liang Zhu Violin Concerto exemplifies the adaptation of East Asian culture to the context of the Western language and means of expression while preserving its Chinese cultural identity. This concerto has significant value and desirability for consumption due to the proportion of originality and familiarity which it upholds and determines its overall appeal. Ultimately, this article aims to explore how the Liang Zhu Violin Concerto achieves originality at a global level while preserving its Chinese cultural identity. Keywords: Interculturality, Liang Zhu, Identity, Imitation."
本文以何占豪、陈刚的《梁柱小提琴与管弦协奏曲》为例,考察了跨文化现象。文化间性不再仅仅是一种提升特定语境价值论价值的手段,而是成为验证当代话语的必要条件。跨文化在塑造创作意图表达方面的作用被放大了,因为它通过从熟悉度的角度全面观察外国元素的独特性,减弱了由个人背景的不协调所决定的分歧。梁柱小提琴协奏曲体现了东亚文化对西方语言和表达方式的适应,同时保留了中国文化的特征。这首协奏曲具有重要的价值和可取性,因为它所坚持的原创性和熟悉性的比例决定了它的整体吸引力。最后,本文旨在探讨《梁祝小提琴协奏曲》如何在保持其中国文化特征的同时,在全球范围内实现原创性。关键词:跨文化,梁柱,认同,模仿
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引用次数: 0
Exploring Learning and Unlearning in Singing Technique (Breath) 浅谈歌唱技巧的学习与遗忘(呼吸)
Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.11
Cristina Radu-Giurgiu
"The future belongs to those who will never stop learning - this is a very modern mindset. Learning is a lifelong habit. It is a process, a work in progress for a lifetime. This process can have many stages and I want to explore them in this article, because becoming aware of them we can improve our knowledge and our benefits from learning. This information can be useful in pedagogy but also in the self-control of professionals, because this article is regarding the professional singer’s development, focusing on the breathing technique in singing. The society we live in is an extremely dynamic one, changes are happening faster and faster, and knowledge is a must, a continuous process that does not stop with the completion of studies. Discovering one’s own ignorance can be the start of progress. The most modern learning process admits and embraces the dynamic between learning, unlearning, and relearning - at whatever professional stage we are. The present article is not intended to be a new breathing technique proposal, nor an exposition or a debate of the multiple existing breathing techniques... but to state the main objectives of the optimal breathing of a professional singer and the possible defects that must be corrected. The focus of this article is the availability of learning, experimentation and permanent discovery of one’s own body and mind - corelating them with the functionality of the technique, under the guidance of a teacher or in the individual study of each singer - in short, an invitation to make the rehearsals much more flexibles. Keywords: learning, unlearning, relearning, singing technique, breath"
“未来属于那些永远不会停止学习的人-这是一种非常现代的心态。学习是一种终身的习惯。这是一个过程,是一项一生都在进行的工作。这个过程可以有很多阶段,我想在这篇文章中探索它们,因为意识到它们,我们可以提高我们的知识和学习的好处他是专业人士的自控力,因为本文是关于专业歌手的发展,重点探讨歌唱中的呼吸技巧。我们生活的社会是一个充满活力的社会,变化发生得越来越快,知识是必须的,是一个持续的过程,不会随着学习的完成而停止。发现自己的无知可能是进步的开始。最现代的学习过程承认并包含了学习、遗忘和重新学习之间的动态——无论我们处于什么专业阶段。本文不是一个新的呼吸技术建议,也不是对现有多种呼吸技术的阐述或争论。。。而是陈述职业歌手最佳呼吸的主要目标以及必须纠正的可能缺陷。这篇文章的重点是学习、实验和对自己身心的永久发现的可用性——在老师的指导下或在每个歌手的个人研究中,将它们与技术的功能联系起来——简而言之,这是一种让排练更加灵活的邀请。关键词:学习、遗忘、再学习、演唱技巧、呼吸
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引用次数: 0
期刊
Studia Universitatis Babes-Bolyai Musica
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