Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.02
Csilla Csákány
"In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.) Keywords: music cognition, neuromusicology, sonic therapy, classical music, models of therapy. "
“在作为音乐心理学分支的系统音乐学中，我们发现了一个有趣的方向，叫做音乐认知神经科学，或神经音乐学。它研究大脑在音乐加工中的作用，音乐感知和音乐生产在大脑中的表现方式。与音乐认知的其他分析模型相比，大脑功能的映射用于检查音乐的结果而不是其过程，并且正如所讨论的音乐治疗方法所反映的那样，大多数方法都遵循这种本体论方向。最近的科学研究表明，大脑映射技术可以区分听音乐、演奏古典音乐和即兴创作的时刻。根据研究结果，我们的主要重点是了解和理解我们的音乐大脑在古典音乐试听过程中是如何运作的，这样我们就可以从科学的角度出发，不仅可以论证现有的音乐治疗方法，还可以论证当前对古典音乐的感知。在“艺术对话”大师课中，我们与各年级的学生一起探索音乐与其他艺术和科学学科之间可能的联系。其中最令人兴奋的一个方面是音乐和大脑研究，这是一个令人难以置信的快速发展领域，其结果可以加强古典音乐在当代社会中的地位和作用，加强现有的广泛推广古典音乐教育(Kodály, El sistema等)关键词:音乐认知，神经音乐学，声音疗法，古典音乐，治疗模式。
{"title":"Encouraging Guidelines in Neuromusicological Research Regarding Classical Music’s Usage in Sonic Therapy - When Science Becomes Magic","authors":"Csilla Csákány","doi":"10.24193/subbmusica.2022.1.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.02","url":null,"abstract":"\"In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.) Keywords: music cognition, neuromusicology, sonic therapy, classical music, models of therapy. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69199975","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.06
Maria-Roxana Bischin
"The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937) in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plisețkaia (the ʻprima-ballerinaʼ of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the “becoming” of the dancer [object]ified through the corporal movements and to justify the stage- Space as a place of “being-in-the-world”. Keywords: ballet, body, dance, Weimar period, Oskar Schlemmer, Paul Hindemith, Avant-garde, ontical-structures, Céline Dion, Paul Klee, Alexandre Vauthier. "
{"title":"The Changing of the Aesthetic Ballet’s Sphere in the Interwar Period. Between the Deconstruction of Oskar Schlemmer’s Ballet and the Idea of “Gebrauchmusik” of Paul Hindemith – An Imagistic Alley From Oskar Schlemmer to Céline Dion [1922-2019]","authors":"Maria-Roxana Bischin","doi":"10.24193/subbmusica.2022.1.06","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.06","url":null,"abstract":"\"The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937) in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plisețkaia (the ʻprima-ballerinaʼ of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the “becoming” of the dancer [object]ified through the corporal movements and to justify the stage- Space as a place of “being-in-the-world”. Keywords: ballet, body, dance, Weimar period, Oskar Schlemmer, Paul Hindemith, Avant-garde, ontical-structures, Céline Dion, Paul Klee, Alexandre Vauthier. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200328","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.07
Otilia-Maria Badea
"When a political change occurs, either in democratic or under authoritarian circumstances, the institutional dimension is the first that manifests the control exerted by the new power. We know that the socialist realism was imposed by politicians but in the end, it was created by the composers. Either convinced or not by the communist beliefs, they were faced with providing content for a doctrine that had clear contours and sharp direction, but with technical dimensions impossible to pinpoint. My intention is to shed light not on the politically active composers (whose works explicitly conveyed the propaganda messages of the regime), but rather on those that were trying to find a middle ground between the requirements of the socialist realism canon and their own ideals and aesthetic preferences. One of the most common solutions used by these composers, and one of the most polyvalent, was the appeal to folklore. It conveniently satisfied both the nationalism and the artistic aspirations of the interwar school of composition as well as the requirements of the communist present. Keywords: Nationalism, socialist realism, Stalinist Romania, Soviet model, Romanian Composers Union. "
{"title":"Converting Nationalism Into Socialism Through Folk Music in Stalinist Romania","authors":"Otilia-Maria Badea","doi":"10.24193/subbmusica.2022.1.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.07","url":null,"abstract":"\"When a political change occurs, either in democratic or under authoritarian circumstances, the institutional dimension is the first that manifests the control exerted by the new power. We know that the socialist realism was imposed by politicians but in the end, it was created by the composers. Either convinced or not by the communist beliefs, they were faced with providing content for a doctrine that had clear contours and sharp direction, but with technical dimensions impossible to pinpoint. My intention is to shed light not on the politically active composers (whose works explicitly conveyed the propaganda messages of the regime), but rather on those that were trying to find a middle ground between the requirements of the socialist realism canon and their own ideals and aesthetic preferences. One of the most common solutions used by these composers, and one of the most polyvalent, was the appeal to folklore. It conveniently satisfied both the nationalism and the artistic aspirations of the interwar school of composition as well as the requirements of the communist present. Keywords: Nationalism, socialist realism, Stalinist Romania, Soviet model, Romanian Composers Union. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200335","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.15
Mihai Brie
"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his vocabulary. daily. In the following I have prepared research meant to attract the musician or theologian, or the contemporary scientist in the pragmatization of the manipulative requests contained in this grandiose prayer. Thus, we combined theological research with musicological research in an exceptional composition from the old Romanian space. In the history of the local culture and civilization, famous names have remained that have shaped the Romanian academic space from all times. One of these names of scientific relevance was Ciprian Porumbescu. Endowed natively with hard work, he succeeds and confirms over time his passage through time. A plurivalent musician, but also a poet and essayist, he manages to imprint in the history of the second half of the 19th century a unique perspective on the religious and folkloric and patriotic treasure of Bucovina. All this treasure is haloed by its vast improvement in Chernivtsi and Vienna, inscribing itself in the memory of the musical times of the end of the 19th century both far from the native places and especially capitalizing on them with their whole load of centuries in a vision. unique, complex, representative musician of Romanian choral music. Keywords: Jesus Christ, religion, church, Porumbescu, culture, choir, folklore, music, history "
{"title":"Das Gebet „Vaterunser” in der komponistischen Sicht von Ciprian Porumbescu – theologische und musikologische Aspekte","authors":"Mihai Brie","doi":"10.24193/subbmusica.2022.1.15","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.15","url":null,"abstract":"\"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his vocabulary. daily. In the following I have prepared research meant to attract the musician or theologian, or the contemporary scientist in the pragmatization of the manipulative requests contained in this grandiose prayer. Thus, we combined theological research with musicological research in an exceptional composition from the old Romanian space. In the history of the local culture and civilization, famous names have remained that have shaped the Romanian academic space from all times. One of these names of scientific relevance was Ciprian Porumbescu. Endowed natively with hard work, he succeeds and confirms over time his passage through time. A plurivalent musician, but also a poet and essayist, he manages to imprint in the history of the second half of the 19th century a unique perspective on the religious and folkloric and patriotic treasure of Bucovina. All this treasure is haloed by its vast improvement in Chernivtsi and Vienna, inscribing itself in the memory of the musical times of the end of the 19th century both far from the native places and especially capitalizing on them with their whole load of centuries in a vision. unique, complex, representative musician of Romanian choral music. Keywords: Jesus Christ, religion, church, Porumbescu, culture, choir, folklore, music, history \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48634570","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.17
E. Adetu, Petruța-Maria Coroiu
"Donizetti’s opera “Lucrezia Borgia” presents one of the most complex female characters in the history of Italian lyrical theatre – a notable portrait of “femme fatale”. Based on Victor Hugo’s play, Gaetano Donizetti’s creation offers generous interpretation contexts, both from a vocal and a dramaturgic point of view. This article will deal with the particularities of Lucrezia Borgia’s role, underlining the importance of the relationship between vocality and dramaturgy, focusing on the analysis of the main soloist moments. Keywords: Lucrezia Borgia, Donizetti, character, typology, vocality "
{"title":"The Character “Lucrezia Borgia” of Donizetti’s Homonymous Opera. An Analysis of Character and Vocal Features","authors":"E. Adetu, Petruța-Maria Coroiu","doi":"10.24193/subbmusica.2022.1.17","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.17","url":null,"abstract":"\"Donizetti’s opera “Lucrezia Borgia” presents one of the most complex female characters in the history of Italian lyrical theatre – a notable portrait of “femme fatale”. Based on Victor Hugo’s play, Gaetano Donizetti’s creation offers generous interpretation contexts, both from a vocal and a dramaturgic point of view. This article will deal with the particularities of Lucrezia Borgia’s role, underlining the importance of the relationship between vocality and dramaturgy, focusing on the analysis of the main soloist moments. Keywords: Lucrezia Borgia, Donizetti, character, typology, vocality \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460933","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.12
Theodor Constantiniu
"The Secașe Valley is an ethnographic area populated by different ethnic groups, the most numerous being the Romanians, Saxons, Hungarians, and Roma. Starting from field recordings of Romanian music performed by Saxon peasants from this region, we aim to contribute to the topic of inter-ethnic musical exchange in Transylvania. The songs borrowed by the Saxons from their Romanian neighbors are diverse, ranging from ritual songs, ballads, lyric songs representative for the area, to dance songs, romances, and other modern creations. We concluded that the Saxons thoroughly absorbed the style of traditional Romanian music not only from their own villages, but also from a wider area that goes past the Secașe Valley and into the neighboring regions. This allows us to claim that, as an ethnic minority, the Saxons were involved in a process of acculturation. The cultural strategy adopted by the Saxon community was the integration within the dominant culture, but without abandoning its own musical patrimony. Keywords: Transylvanian Saxons, Secașe Valley, cultural exchange, inter-ethnic relations, acculturation, Romanian folk songs, Southern Transylvania "
{"title":"Music Transfer and Cultural Contact: Romanian Popular Songs in the Repertoire of the Saxons From the Secașe Valley","authors":"Theodor Constantiniu","doi":"10.24193/subbmusica.2022.1.12","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.12","url":null,"abstract":"\"The Secașe Valley is an ethnographic area populated by different ethnic groups, the most numerous being the Romanians, Saxons, Hungarians, and Roma. Starting from field recordings of Romanian music performed by Saxon peasants from this region, we aim to contribute to the topic of inter-ethnic musical exchange in Transylvania. The songs borrowed by the Saxons from their Romanian neighbors are diverse, ranging from ritual songs, ballads, lyric songs representative for the area, to dance songs, romances, and other modern creations. We concluded that the Saxons thoroughly absorbed the style of traditional Romanian music not only from their own villages, but also from a wider area that goes past the Secașe Valley and into the neighboring regions. This allows us to claim that, as an ethnic minority, the Saxons were involved in a process of acculturation. The cultural strategy adopted by the Saxon community was the integration within the dominant culture, but without abandoning its own musical patrimony. Keywords: Transylvanian Saxons, Secașe Valley, cultural exchange, inter-ethnic relations, acculturation, Romanian folk songs, Southern Transylvania \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200403","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.09
Rucsanda Mădălina Dana, N. Karácsony
"One of the most important figures of the 20th century, avant-garde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art – discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. Keywords: John Cage, Asia, Avant-garde, Hinduism, Buddhism, Zen, I-Ching, indeterminacy "
{"title":"Compositional particularities and asian influences in the musical conception and works of john cage","authors":"Rucsanda Mădălina Dana, N. Karácsony","doi":"10.24193/subbmusica.2022.1.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.09","url":null,"abstract":"\"One of the most important figures of the 20th century, avant-garde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art – discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. Keywords: John Cage, Asia, Avant-garde, Hinduism, Buddhism, Zen, I-Ching, indeterminacy \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49091432","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.20
Diana Rotaru
"Salvatore Sciarrino creates what could be described as an isolated, mysterious “sonic garden”: a ghostly world of sounds where the archetypal corporal processes, such as breathing or heartbeat, are transformed into music. His conceptual thinking – refreshing the musical perception, the ecological hearing, the persistence of repetition, the figures of music (formal archetypes that can be adapted to any kind of art) – as well as his very particular, non-traditional sound make Sciarrino’s music an incredibly rich world to explore. The flute seems to be his favourite instrument, due to its ability to incorporate so many corporeal noises of the performer (from voice to fingertips), becoming almost an extension of his body. The many and ingenious ways of applying repetition in his work, as well as the play with time length – taken to almost unbearable boundaries – make Salvatore Sciarrino one of the true explorers of musical trance today. Keywords: Sciarrino, flute, contemporary music, repetition, persistence, musical figures "
{"title":"The Hypnotic Garden: Repetition and Trance in Salvatore Sciarrino’s Works for Flute","authors":"Diana Rotaru","doi":"10.24193/subbmusica.2022.1.20","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.20","url":null,"abstract":"\"Salvatore Sciarrino creates what could be described as an isolated, mysterious “sonic garden”: a ghostly world of sounds where the archetypal corporal processes, such as breathing or heartbeat, are transformed into music. His conceptual thinking – refreshing the musical perception, the ecological hearing, the persistence of repetition, the figures of music (formal archetypes that can be adapted to any kind of art) – as well as his very particular, non-traditional sound make Sciarrino’s music an incredibly rich world to explore. The flute seems to be his favourite instrument, due to its ability to incorporate so many corporeal noises of the performer (from voice to fingertips), becoming almost an extension of his body. The many and ingenious ways of applying repetition in his work, as well as the play with time length – taken to almost unbearable boundaries – make Salvatore Sciarrino one of the true explorers of musical trance today. Keywords: Sciarrino, flute, contemporary music, repetition, persistence, musical figures \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200466","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}
Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.19
A. Pătraş
"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
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Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.05
Sebastian Shwan, Stela Drăgulin
"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Robert Schumann, Brahms contributed to the composition of the FAE Sonata for piano and violin, Julius Otto Grimm is the witness of Brahms’ love for Agathe von Siebold, while Julius Stockhausen emerges as the master of the Brahms lieder), the conductors who became the composer’s close friends and promoted his symphonies (Hermann Levi, Hans Richter, Hans von Bülow, the latter a genuine emissary of Brahms’s works, the author of the Three B syntagm – Bach, Beethoven, Brahms), the Viennese friends (the critic Eduard Hanslick, who characterized the works in Opp. 117-119 as genuine monologues and Joseph Hellmesberger, founder of the quartet name after him, with whom Brahms performed gems of the chamber music repertoire), and the confidants of Brahms, permanent figures in the life of the composer (the surgeon Theodor Billroth and Joseph Viktor Widmann, the author of the memoirs that revealed significant aspects of the composer’s life and works). Keywords: Johannes Brahms, works, life, significant personalities, friends "
{"title":"\"Significant Personalities as Turning Points in the Life and Music of Johannes Brahms \"","authors":"Sebastian Shwan, Stela Drăgulin","doi":"10.24193/subbmusica.2022.1.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.05","url":null,"abstract":"\"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Robert Schumann, Brahms contributed to the composition of the FAE Sonata for piano and violin, Julius Otto Grimm is the witness of Brahms’ love for Agathe von Siebold, while Julius Stockhausen emerges as the master of the Brahms lieder), the conductors who became the composer’s close friends and promoted his symphonies (Hermann Levi, Hans Richter, Hans von Bülow, the latter a genuine emissary of Brahms’s works, the author of the Three B syntagm – Bach, Beethoven, Brahms), the Viennese friends (the critic Eduard Hanslick, who characterized the works in Opp. 117-119 as genuine monologues and Joseph Hellmesberger, founder of the quartet name after him, with whom Brahms performed gems of the chamber music repertoire), and the confidants of Brahms, permanent figures in the life of the composer (the surgeon Theodor Billroth and Joseph Viktor Widmann, the author of the memoirs that revealed significant aspects of the composer’s life and works). Keywords: Johannes Brahms, works, life, significant personalities, friends \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200246","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}
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