Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.15
Szabó Márton
"This research presents a medieval musical manuscript that has not yet been analyzed in detail. Catalogued under the name of Graduale Latino-Bohemicum, and currently held in the Batthyaneum Library of Alba Iulia, it has many peculiarities in comparison with other similar codices from the Transylvanian area, hence also compared with other Czech manuscripts. We offer analysis around the date of its creation, then debate different naming options. To create the proper context of understanding for the analysis, we present a brief historical background of the time and place in question, that is the turbulent 15th and 16th century of Europe, with special focus on Transylvania. We continue with the physical aspects of the manuscript that guide us through the colorful world of medieval codices. From a structural standpoint the work has two delimited parts. The bilingual manuscript starts with chants written in Czech and finishes with melodies in Latin. The existence of the Czech language, as well as many other clues govern us to set up hypotheses regarding its provenance. During the content analysis we dedicate a subchapter to the later page inserts that contain additional notes for the chants, wherefrom we can further conclude theories about the usage of the codex, authors of the later annotations, and so forth. We offer a more in-depth analysis of the musical notation where aspects like rhythm, staff, neumes used and special solutions are shown. Finally, we conclude all major, raised questions related to the name, origin, and genre. Keywords: Graduale Latino-Bohemicum, musical manuscript, codex, medieval, paleography, Gradual, Cancional, Antifonal, Hussite, Czech, Latin, Gregorian, unison, polyphony."
{"title":"Tapping Into Unknown Musical Areas Analysis of a Medieval Bohemian Musical Manuscript","authors":"Szabó Márton","doi":"10.24193/subbmusica.2023.spiss2.15","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.15","url":null,"abstract":"\"This research presents a medieval musical manuscript that has not yet been analyzed in detail. Catalogued under the name of Graduale Latino-Bohemicum, and currently held in the Batthyaneum Library of Alba Iulia, it has many peculiarities in comparison with other similar codices from the Transylvanian area, hence also compared with other Czech manuscripts. We offer analysis around the date of its creation, then debate different naming options. To create the proper context of understanding for the analysis, we present a brief historical background of the time and place in question, that is the turbulent 15th and 16th century of Europe, with special focus on Transylvania. We continue with the physical aspects of the manuscript that guide us through the colorful world of medieval codices. From a structural standpoint the work has two delimited parts. The bilingual manuscript starts with chants written in Czech and finishes with melodies in Latin. The existence of the Czech language, as well as many other clues govern us to set up hypotheses regarding its provenance. During the content analysis we dedicate a subchapter to the later page inserts that contain additional notes for the chants, wherefrom we can further conclude theories about the usage of the codex, authors of the later annotations, and so forth. We offer a more in-depth analysis of the musical notation where aspects like rhythm, staff, neumes used and special solutions are shown. Finally, we conclude all major, raised questions related to the name, origin, and genre. Keywords: Graduale Latino-Bohemicum, musical manuscript, codex, medieval, paleography, Gradual, Cancional, Antifonal, Hussite, Czech, Latin, Gregorian, unison, polyphony.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49486434","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.23
Mihaela Buhaiciuc
"The current work aims to present an investigation of the past seventy years of Sopranotronics repertoire, approached through the eye of the performer. The Soprano Fach and the electronic environment merged in the last decades into a new interdisciplinary performance field, which is both artistic and scientific in its making. The Sopranotronics now offers a fresh vocal repertoire with challenging drama stories and thought-provoking art. Whether expressing a political disagreement (Nono’s La Fabbrica Illuminata) or describing a mythical story (Babbitt’s Philomel) in chamber works; writing a four-hour opera without dramatic action and a storyline (Glass’s Einstein on the Beach) or inventing the disembodied performance while the most humane character of the opera suffers because of this (Machover’s DATP) or chanting for spirits in an electro - acoustic aria (Crețu’s I.X.@100) and challenging any musical and vocal establishment in a dadaistic formula (Beldean’s Tekmirio) brings forward the human component of this experimental art worth performing. Keywords: Sopranotronics, Soprano Fach, electronic music"
{"title":"Sopranotronics 101. An Analytical Approach With Repertorial Proposal","authors":"Mihaela Buhaiciuc","doi":"10.24193/subbmusica.2023.spiss2.23","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.23","url":null,"abstract":"\"The current work aims to present an investigation of the past seventy years of Sopranotronics repertoire, approached through the eye of the performer. The Soprano Fach and the electronic environment merged in the last decades into a new interdisciplinary performance field, which is both artistic and scientific in its making. The Sopranotronics now offers a fresh vocal repertoire with challenging drama stories and thought-provoking art. Whether expressing a political disagreement (Nono’s La Fabbrica Illuminata) or describing a mythical story (Babbitt’s Philomel) in chamber works; writing a four-hour opera without dramatic action and a storyline (Glass’s Einstein on the Beach) or inventing the disembodied performance while the most humane character of the opera suffers because of this (Machover’s DATP) or chanting for spirits in an electro - acoustic aria (Crețu’s I.X.@100) and challenging any musical and vocal establishment in a dadaistic formula (Beldean’s Tekmirio) brings forward the human component of this experimental art worth performing. Keywords: Sopranotronics, Soprano Fach, electronic music\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47471661","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.24
P. Șandor
"The present study marks the beginning of a series of analytical undertakings focused on the symphonic and concerto works by the Cluj composer Adrian Pop. Following the pieces’ chronological line and keeping as a reference their common source of inspiration – the Romanian folklore – the conclusions aim to reveal the way in which the author’s individuality relates to the tendencies of contemporary language, as well as the European music tradition, without overshadowing our autochthonous stylistic matrix. Starting from a carol taken from Sabin Drăgoi’s collection of 303 Carols, the discourse of the Cello concerto provides a masterly example of how the variational technique is applied in the processing and development of microstructural elements, whose archaic essence is preserved and amplified both at the moment of the explicit exposure of the original melody in the second part (following its „genesis” throughout the first part), and during the effervescent unfolding of the final movement. Keywords: folklore, carol, variation, development, tradition, modernity"
{"title":"Interferences Between Tradition and Modernity in the Symphonic and Concerto Works by Adrian Pop – (1) The Cello Concerto","authors":"P. Șandor","doi":"10.24193/subbmusica.2023.spiss2.24","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.24","url":null,"abstract":"\"The present study marks the beginning of a series of analytical undertakings focused on the symphonic and concerto works by the Cluj composer Adrian Pop. Following the pieces’ chronological line and keeping as a reference their common source of inspiration – the Romanian folklore – the conclusions aim to reveal the way in which the author’s individuality relates to the tendencies of contemporary language, as well as the European music tradition, without overshadowing our autochthonous stylistic matrix. Starting from a carol taken from Sabin Drăgoi’s collection of 303 Carols, the discourse of the Cello concerto provides a masterly example of how the variational technique is applied in the processing and development of microstructural elements, whose archaic essence is preserved and amplified both at the moment of the explicit exposure of the original melody in the second part (following its „genesis” throughout the first part), and during the effervescent unfolding of the final movement. Keywords: folklore, carol, variation, development, tradition, modernity\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49192877","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.08
Nataliya Byelik-Zolotarova, N. Zolotaryova, Viacheslav Boiko, T. Sukhomlinova, Olena Zaverukha
"The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it. Keywords: performance interpretation, genre uniqueness; author’s performance; improvisation; synthesis of musical forms; solo concert instrument."
{"title":"A Performance Interpretation of the Viennese Classics by the Example of Fantasia for Piano, Chorus and Orchestra in C Minor, Op. 80 by Ludwig van Beethoven","authors":"Nataliya Byelik-Zolotarova, N. Zolotaryova, Viacheslav Boiko, T. Sukhomlinova, Olena Zaverukha","doi":"10.24193/subbmusica.2023.spiss2.08","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.08","url":null,"abstract":"\"The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it. Keywords: performance interpretation, genre uniqueness; author’s performance; improvisation; synthesis of musical forms; solo concert instrument.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49632238","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.14
Dalma-Lidia Toadere
"The scope of this paper is limited to music mediation in the context of specifically designed concerts, hence the title “on stage”, with a focus on performances for children. In addition to research findings, the main part of the presentation will be devoted to insights gained from more than a decade of personal practical experience in moderating and conducting more than 120 educational performances for children. With the professionalization of music mediation, the many different approaches and strategies that can be used to best serve the goal of creating access to classical music have been studied and classified. The most important of these will be presented in the context of the concert. They will be illustrated with examples from the study of practices in different music institutions worldwide. Keywords: children’s concerts, music mediation "
{"title":"Music Mediation on Stage","authors":"Dalma-Lidia Toadere","doi":"10.24193/subbmusica.2023.spiss2.14","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.14","url":null,"abstract":"\"The scope of this paper is limited to music mediation in the context of specifically designed concerts, hence the title “on stage”, with a focus on performances for children. In addition to research findings, the main part of the presentation will be devoted to insights gained from more than a decade of personal practical experience in moderating and conducting more than 120 educational performances for children. With the professionalization of music mediation, the many different approaches and strategies that can be used to best serve the goal of creating access to classical music have been studied and classified. The most important of these will be presented in the context of the concert. They will be illustrated with examples from the study of practices in different music institutions worldwide. Keywords: children’s concerts, music mediation \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207389","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.04
Olguța Lupu
"After first employing the 12-tone serialism, Anatol Vieru turned to folklore for inspiration and then wrote works based on artificial modes. I was interested in the possible correlations between these periods of his oeuvre. More precisely, I wished to analyze Vieru’s concerti as to their use of 12-tone structures and the relations they establish with non-serial configurations. I noticed that, even if he uses the chromatic total and respects the rules of serialism only in a first stage, Vieru very much kept in contact with it, albeit by converting it from a point of departure to a destination, the direction of a route seeming to often coincide with the obtaining of the chromatic total or with an asymptotic aspiration towards it. An interesting intersection is thus created, where the modal takes over the serial while the latter will still discreetly remain woven into the former. Keywords: Anatol Vieru, Serialism, Serial, Modes, Concerti "
{"title":"Hide-and-Seek Between the Serial and the Modal in Anatol Vieru’s Concerti","authors":"Olguța Lupu","doi":"10.24193/subbmusica.2023.spiss2.04","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.04","url":null,"abstract":"\"After first employing the 12-tone serialism, Anatol Vieru turned to folklore for inspiration and then wrote works based on artificial modes. I was interested in the possible correlations between these periods of his oeuvre. More precisely, I wished to analyze Vieru’s concerti as to their use of 12-tone structures and the relations they establish with non-serial configurations. I noticed that, even if he uses the chromatic total and respects the rules of serialism only in a first stage, Vieru very much kept in contact with it, albeit by converting it from a point of departure to a destination, the direction of a route seeming to often coincide with the obtaining of the chromatic total or with an asymptotic aspiration towards it. An interesting intersection is thus created, where the modal takes over the serial while the latter will still discreetly remain woven into the former. Keywords: Anatol Vieru, Serialism, Serial, Modes, Concerti \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207090","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.06
Md.Jais Ismail, F. Loo
"Malaysian music was influenced by British, Portuguese, Indian, and Chinese cultures, which created syncretic music. Aesthetics values strengthen the existence of syncretic music by molding taste and interest among the listeners. It somehow creates various feelings whether to appreciate, accept, or against the music, further developing musical preferences among individuals. Exploring aesthetic values in popular and traditional music is crucial as many cultures have influenced Malaysia due to colonization, trading, wedding, and migration. This paper reviews on Malaysian syncretic music, the aesthetic values in Malaysian popular and traditional music, and the influence factors of Malaysian music. It is found that there was a confluence of various intercultural musical elements in the early era, while assimilation has taken place due to traditional Malay rhythmic patterns and traditional folk themes. This led to the Malaysian conception of music and musical composition, creating the idea that Malaysian music has drastically expanded its artistic resources since the pre-colonial era. We also found communities living in the pre-modern or modern era have different unique taste in the aesthetic characteristics. Despite this, most remote communities are compelled to participate in postmodernity in some way due to the globalization of media, capital, and mobile networks. These combinations result in many theories, concepts, and discourses that enrich aesthetic values in Malaysian syncretic music. Keywords: Syncretic music, culture, Malaysian music, aesthetic, music assimilation, traditional music"
{"title":"Evolvement of Syncretic Music: the Aesthetic Values of Malaysian Popular and Traditional Music","authors":"Md.Jais Ismail, F. Loo","doi":"10.24193/subbmusica.2023.spiss2.06","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.06","url":null,"abstract":"\"Malaysian music was influenced by British, Portuguese, Indian, and Chinese cultures, which created syncretic music. Aesthetics values strengthen the existence of syncretic music by molding taste and interest among the listeners. It somehow creates various feelings whether to appreciate, accept, or against the music, further developing musical preferences among individuals. Exploring aesthetic values in popular and traditional music is crucial as many cultures have influenced Malaysia due to colonization, trading, wedding, and migration. This paper reviews on Malaysian syncretic music, the aesthetic values in Malaysian popular and traditional music, and the influence factors of Malaysian music. It is found that there was a confluence of various intercultural musical elements in the early era, while assimilation has taken place due to traditional Malay rhythmic patterns and traditional folk themes. This led to the Malaysian conception of music and musical composition, creating the idea that Malaysian music has drastically expanded its artistic resources since the pre-colonial era. We also found communities living in the pre-modern or modern era have different unique taste in the aesthetic characteristics. Despite this, most remote communities are compelled to participate in postmodernity in some way due to the globalization of media, capital, and mobile networks. These combinations result in many theories, concepts, and discourses that enrich aesthetic values in Malaysian syncretic music. Keywords: Syncretic music, culture, Malaysian music, aesthetic, music assimilation, traditional music\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206845","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.03
M. Rucsanda, N. Karácsony
"In the final decades of the 19th century and in the 20th century, exoticism and orientalism contributed greatly to the evolution and innovation of Western music composition. Using the rules and techniques of Western music, composers incorporated in their works elements pertaining to or inspired by foreign cultures and their music. The current study continues the investigations brought to attention by the authors in their previous articles: it desires to reveal and analyze the way exoticism and orientalism influenced the creation of various composers, pointing to those aspects that represented innovation brought about by the contact with the music and culture of other cultures than the Western world. The musical language of Messiaen is deeply rooted in the universal musical heritage, comprising elements belonging to the music of the Ancient Greeks, the Orient, Africa, or Europe. The present paper presents and offers examples regarding the way rhythm and melody are organized and employed by Messiaen using means that are inspired by Hindu music: the correspondence between the deçî-tâlas (Hindu rhythms) and Messiaen’s use of rhythm, as well as the similarities between the Hindu rāga and the modes of limited transposition. Apart from the Hindu influences on rhythm and melody, Messiaen was also inspired by the Japanese Gagaku, its instruments, and relation between harmony and melody, as well as Indonesian music (Balinese and Javanese), both having an important influence on the way the composer perceives and creates timbre. But apart from striving to create new means of musical expression using exotic elements, Messiaen desired to unveil certain spiritual and theological truths, mirrored in his music and the construction of his musical discourse. Keywords: exoticism, Hindu, Japanese, Bali, Messiaen"
{"title":"The Exoticism of Olivier Messiaen","authors":"M. Rucsanda, N. Karácsony","doi":"10.24193/subbmusica.2023.spiss2.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.03","url":null,"abstract":"\"In the final decades of the 19th century and in the 20th century, exoticism and orientalism contributed greatly to the evolution and innovation of Western music composition. Using the rules and techniques of Western music, composers incorporated in their works elements pertaining to or inspired by foreign cultures and their music. The current study continues the investigations brought to attention by the authors in their previous articles: it desires to reveal and analyze the way exoticism and orientalism influenced the creation of various composers, pointing to those aspects that represented innovation brought about by the contact with the music and culture of other cultures than the Western world. The musical language of Messiaen is deeply rooted in the universal musical heritage, comprising elements belonging to the music of the Ancient Greeks, the Orient, Africa, or Europe. The present paper presents and offers examples regarding the way rhythm and melody are organized and employed by Messiaen using means that are inspired by Hindu music: the correspondence between the deçî-tâlas (Hindu rhythms) and Messiaen’s use of rhythm, as well as the similarities between the Hindu rāga and the modes of limited transposition. Apart from the Hindu influences on rhythm and melody, Messiaen was also inspired by the Japanese Gagaku, its instruments, and relation between harmony and melody, as well as Indonesian music (Balinese and Javanese), both having an important influence on the way the composer perceives and creates timbre. But apart from striving to create new means of musical expression using exotic elements, Messiaen desired to unveil certain spiritual and theological truths, mirrored in his music and the construction of his musical discourse. Keywords: exoticism, Hindu, Japanese, Bali, Messiaen\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206899","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.16
Apolka Fábián
"Josquin des Prez has composed at least 20 masses. This article focuses on the presentation and analysis of compositional techniques in Missa de Beata Virgine used by Josquin des Prez. He used different techniques from the XVI. century: paraphrased cantus firmus melody, tropus, imitative and polyphonic techniques. His early style testifies to the influence of Guillaume Dufay and Jan van Ockeghem. Following his Italian experience he mastered the homophonic compositional technique, which strengthened the text-music relationship in his works. Keyword: Renaissance music, Josquin des Prez, mass, church music, cantus firmus "
Josquin des Prez至少创作了20首曲子。本文着重介绍和分析Josquin des Prez在《misssa de Beata Virgine》中使用的构图技巧。他使用了与十六世不同的技术。世纪:转述的固定音旋律，转调，模仿和复调技巧。他的早期风格证明了纪尧姆·杜菲和扬·范·奥克海姆的影响。在意大利经历之后，他掌握了主音作曲技巧，这加强了他作品中的文乐关系。关键词:文艺复兴时期音乐，约斯金·德·普雷兹，弥撒，教堂音乐，“角”
{"title":"Analytical Aspects in Missa de Beata Virgine by Josquin des Prez","authors":"Apolka Fábián","doi":"10.24193/subbmusica.2023.spiss2.16","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.16","url":null,"abstract":"\"Josquin des Prez has composed at least 20 masses. This article focuses on the presentation and analysis of compositional techniques in Missa de Beata Virgine used by Josquin des Prez. He used different techniques from the XVI. century: paraphrased cantus firmus melody, tropus, imitative and polyphonic techniques. His early style testifies to the influence of Guillaume Dufay and Jan van Ockeghem. Following his Italian experience he mastered the homophonic compositional technique, which strengthened the text-music relationship in his works. Keyword: Renaissance music, Josquin des Prez, mass, church music, cantus firmus \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207464","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 : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.10
M. Chernyavska, I. Ivanova, Kira Timofeyeva, Tetiana Syriatska, O. Mits
"The problem field of this article consists of learning the essence of the phenomenon of artistic energy and understanding the performing repertoire as one of the ways of its objectification. Each component of the specified subject of study has its own problem, which is also subject to development. The choice of the proposed subject of scientific cognition is motivated by the desire to understand the phenomenon of the subject of performing interpretative activity. An important factor in its study is the disclosure of the artistic properties of the pianist’s personality, which contributes to the establishment of contact between the concert performer and the listening audience. A little-studied aspect of the analytical consideration of artistic energy remains the question of methods of its objectification, which is the subject of the proposed article. It is stipulated by the perspective of the direction of modern musicology related to the scientific development of the performing repertoire. The location of the selected research subject at the intersection of the named scientific contexts is designed to understand the various properties of the subject of the performing activity as a component of a single system. Therefore, the purpose of this article is to substantiate the idea of the performers’ repertoire preferences as a reflection of their artistic energy. Keywords: pianist-performer, artistic energy, piano repertoire, interpretation, performing style."
{"title":"Artistic Energy of the Performers in the Mirror of Their Repertoire Preferences","authors":"M. Chernyavska, I. Ivanova, Kira Timofeyeva, Tetiana Syriatska, O. Mits","doi":"10.24193/subbmusica.2023.spiss2.10","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.10","url":null,"abstract":"\"The problem field of this article consists of learning the essence of the phenomenon of artistic energy and understanding the performing repertoire as one of the ways of its objectification. Each component of the specified subject of study has its own problem, which is also subject to development. The choice of the proposed subject of scientific cognition is motivated by the desire to understand the phenomenon of the subject of performing interpretative activity. An important factor in its study is the disclosure of the artistic properties of the pianist’s personality, which contributes to the establishment of contact between the concert performer and the listening audience. A little-studied aspect of the analytical consideration of artistic energy remains the question of methods of its objectification, which is the subject of the proposed article. It is stipulated by the perspective of the direction of modern musicology related to the scientific development of the performing repertoire. The location of the selected research subject at the intersection of the named scientific contexts is designed to understand the various properties of the subject of the performing activity as a component of a single system. Therefore, the purpose of this article is to substantiate the idea of the performers’ repertoire preferences as a reflection of their artistic energy. Keywords: pianist-performer, artistic energy, piano repertoire, interpretation, performing style.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207613","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：