Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.17
Sára Aksza Grosz
"The Capriccio sopra la lontananza del fratello dilettissimo, BWV 992 was written not only in youth and in search of compositional identity, but also in a period when several meanings and musical genres overlapped under the term of capriccio. Moreover, among specialists, there is still no full agreement on the date and dedicatee of Bach’s work. Who departures and from whom? Is he a family member or a friend? Due to the extra-musical program of the movements’ subtitles, besides the formal and rhetorical analysis psychology-related concepts might help to highlight these questions. However, by farewell sometimes new perspectives open, and other possible influences and models become clear either, within family for a father’s son (Carl Philipp Emanuel Bach) or outside of it, in a composer generation distance (Ludwig van Beethoven). Keywords: J. S. Bach, capriccio, programmatic keyboard music"
{"title":"“Adieux à Bach”","authors":"Sára Aksza Grosz","doi":"10.24193/subbmusica.2023.spiss2.17","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.17","url":null,"abstract":"\"The Capriccio sopra la lontananza del fratello dilettissimo, BWV 992 was written not only in youth and in search of compositional identity, but also in a period when several meanings and musical genres overlapped under the term of capriccio. Moreover, among specialists, there is still no full agreement on the date and dedicatee of Bach’s work. Who departures and from whom? Is he a family member or a friend? Due to the extra-musical program of the movements’ subtitles, besides the formal and rhetorical analysis psychology-related concepts might help to highlight these questions. However, by farewell sometimes new perspectives open, and other possible influences and models become clear either, within family for a father’s son (Carl Philipp Emanuel Bach) or outside of it, in a composer generation distance (Ludwig van Beethoven). Keywords: J. S. Bach, capriccio, programmatic keyboard music\"","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":"48768101","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.spiss2.07
Violetta Artemenko
"The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished. Keywords: quote, citation, borrowing, autocitation, samples, cover, remake, collage, intertextuality. "
{"title":"Music Quotation in Contemporary Non-Academic Art: Aspects of Genre and Style Transformation","authors":"Violetta Artemenko","doi":"10.24193/subbmusica.2023.spiss2.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.07","url":null,"abstract":"\"The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished. Keywords: quote, citation, borrowing, autocitation, samples, cover, remake, collage, intertextuality. \"","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":"47184620","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.spiss2.02
Miklós Fekete
"This paper focuses on the musical analysis of Veress’s orchestral composition, Threnos. Written in 1945 and dedicated to the memory of Bartók, it is a one-movement work, divided into three independent internal sections, each of them representing an orchestral gradation. Being a threnody, Veress inserts two folk-like funeral laments, which are the composer’s melodic inventions, in the style of folk music. Veress, the ethnomusicologist and composer presents the bartókian principle of how to capture the ethos of folk music in its structure, melody, harmony, and rhythm, and how to express it in such a modern and innovative way, that a completely new quality is born from it. Keywords: Sándor Veress, folk music, bartókian principles, style, compositional techniques, analysis, Threnos."
{"title":"Sándor Veress’s Threnos in the Light of ‘Tradition’ and ‘Renewal’","authors":"Miklós Fekete","doi":"10.24193/subbmusica.2023.spiss2.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.02","url":null,"abstract":"\"This paper focuses on the musical analysis of Veress’s orchestral composition, Threnos. Written in 1945 and dedicated to the memory of Bartók, it is a one-movement work, divided into three independent internal sections, each of them representing an orchestral gradation. Being a threnody, Veress inserts two folk-like funeral laments, which are the composer’s melodic inventions, in the style of folk music. Veress, the ethnomusicologist and composer presents the bartókian principle of how to capture the ethos of folk music in its structure, melody, harmony, and rhythm, and how to express it in such a modern and innovative way, that a completely new quality is born from it. Keywords: Sándor Veress, folk music, bartókian principles, style, compositional techniques, analysis, Threnos.\"","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":"48674596","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.spiss2.21
A. Belibou
"The present article traces the way compositional conceptions and writing style are highlighted in the creation of Tehillim belonging to one of the most prolific contemporary composers – Steve Reich. The research starts from the composer’s ideas about what the compositional journey means, continues with a musical analysis that emphasizes the ways of development of the musical data, and ends with the observation of how the principles of composing are objectified in realities and musical choices. I chose this score because it differs from the previous ones with original elements, with musical parameters that Reich did not use in his career, so it is very interesting to find the composer’s specific compositional archetypes in this specific work. Keywords: componistic concepts, style, Steve Reich, vocal music, 21st century music, Tehillim. "
{"title":"Steve Reich’s Style and Componistic Concepts Reflected in Tehillim Score","authors":"A. Belibou","doi":"10.24193/subbmusica.2023.spiss2.21","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.21","url":null,"abstract":"\"The present article traces the way compositional conceptions and writing style are highlighted in the creation of Tehillim belonging to one of the most prolific contemporary composers – Steve Reich. The research starts from the composer’s ideas about what the compositional journey means, continues with a musical analysis that emphasizes the ways of development of the musical data, and ends with the observation of how the principles of composing are objectified in realities and musical choices. I chose this score because it differs from the previous ones with original elements, with musical parameters that Reich did not use in his career, so it is very interesting to find the composer’s specific compositional archetypes in this specific work. Keywords: componistic concepts, style, Steve Reich, vocal music, 21st century music, Tehillim. \"","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":"69207712","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.09
Oksana Bassa, Mariya Lypetska, Olena Ksondzyk, Zenovija Zhmurkevych, Antonina Lisohorska
"The aim of the research is to determine the problem of developing the professional skills of a performing musician in a higher education music institution. The study involved the following methods: comparative analysis, systematization and grouping, derivation of categories. The relevance of this study is determined by the need to modernize and expand the boundaries of the educational environment when teaching performing musicians. The results of the development of this problem represented it as a complex, multifaceted and, at the same time, integral system, which includes components that differ in content and function, ensuring the effectiveness of the educational program. The conclusions testify to a wide scope of the problem of the formation of a performing musician, its focus on various spheres in the life of society, and the importance of each of its components. The prospects of further research in this field of art are in its flexibility, the ability to be updated, replenished with the achievements of time, and respond to the needs and mood of society. Keywords: music education, integration, art, performing musician, dual education"
{"title":"Developing Professional Skills of a Performing Musician in a Higher Music Institution","authors":"Oksana Bassa, Mariya Lypetska, Olena Ksondzyk, Zenovija Zhmurkevych, Antonina Lisohorska","doi":"10.24193/subbmusica.2023.spiss1.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.09","url":null,"abstract":"\"The aim of the research is to determine the problem of developing the professional skills of a performing musician in a higher education music institution. The study involved the following methods: comparative analysis, systematization and grouping, derivation of categories. The relevance of this study is determined by the need to modernize and expand the boundaries of the educational environment when teaching performing musicians. The results of the development of this problem represented it as a complex, multifaceted and, at the same time, integral system, which includes components that differ in content and function, ensuring the effectiveness of the educational program. The conclusions testify to a wide scope of the problem of the formation of a performing musician, its focus on various spheres in the life of society, and the importance of each of its components. The prospects of further research in this field of art are in its flexibility, the ability to be updated, replenished with the achievements of time, and respond to the needs and mood of society. Keywords: music education, integration, art, performing musician, dual education\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48371957","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.14
D. Mocanu
"Present both in the melodies recorded by Dimitrie Cunțanu and in the melodies that we find in the oral tradition, modal constructions represent melodic molds for defining the central Transylvanian musical style. The correct framing of a melodic line is achieved by means of the scale, the cadential system and the melodic formulae. The ecclesiastical musical style according to Cunțanu, which was derived s from the Byzantine musical tradition, has become an individual style among ecclesiastical musical styles by uniquely assimilating various musical elements from folklore, music of the related cults, cultic music, and entertainment music. The resulting modal patterns have created a church style specific to the intra-Carpathian area, which has ossified into an autochthonous musical tradition. Indexing the modal constructions gives us an overview of the internal structures that underlie and individualize each mode. Keywords: melodic formulas, Dimitrie Cunțanu, default typology"
{"title":"Stylistic Features of Church Music After Dimitrie Cunțanu, a Default Typology","authors":"D. Mocanu","doi":"10.24193/subbmusica.2023.spiss1.14","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.14","url":null,"abstract":"\"Present both in the melodies recorded by Dimitrie Cunțanu and in the melodies that we find in the oral tradition, modal constructions represent melodic molds for defining the central Transylvanian musical style. The correct framing of a melodic line is achieved by means of the scale, the cadential system and the melodic formulae. The ecclesiastical musical style according to Cunțanu, which was derived s from the Byzantine musical tradition, has become an individual style among ecclesiastical musical styles by uniquely assimilating various musical elements from folklore, music of the related cults, cultic music, and entertainment music. The resulting modal patterns have created a church style specific to the intra-Carpathian area, which has ossified into an autochthonous musical tradition. Indexing the modal constructions gives us an overview of the internal structures that underlie and individualize each mode. Keywords: melodic formulas, Dimitrie Cunțanu, default typology\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205665","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.16
János Zsolt Imre
"Music aids meditation practices to concentrate, focus, and direct our attention to regulate our mind and body. As music evokes a broad range of feelings, from excitement to relaxation, enjoyment to sadness, fear to relief, and even mixtures of these, it has been part of meditation practices for thousands of years. Its beneficial power is known as an influential instrument for health, healing, and wellness. This paper presents the pieces created to use for meditation practices. Keyword: music for meditation, effects of music, music exploration, sonic spectrum, soundscape."
{"title":"Chamber Music Exploration for Meditation. Part Iv – The Pieces","authors":"János Zsolt Imre","doi":"10.24193/subbmusica.2023.spiss1.16","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.16","url":null,"abstract":"\"Music aids meditation practices to concentrate, focus, and direct our attention to regulate our mind and body. As music evokes a broad range of feelings, from excitement to relaxation, enjoyment to sadness, fear to relief, and even mixtures of these, it has been part of meditation practices for thousands of years. Its beneficial power is known as an influential instrument for health, healing, and wellness. This paper presents the pieces created to use for meditation practices. Keyword: music for meditation, effects of music, music exploration, sonic spectrum, soundscape.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205925","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.12
Ciprian Mizgan-Danciu
"Many folklorists have analyzed traditional carols and caroling over time, but most of them focused on the development of the custom or on the morphology of carols. In this article, we will present the various interpretative formulas that we encountered during a folklore gathering session in the southern area of the Apuseni Mountains: men’s group, mixed group, individual performers, and children’s group. Each formula has interpretative particularities, with some formulas being constituted only for the purpose of communicating carols, despite not being encountered in the practice of caroling. The importance of each formula is presented with arguments, together with an exemplary sample of carols performed. Keywords: caroling, interpretative formula, traditional music, folk singing"
{"title":"Interpretative Formulas in Caroling in the Southern Area of the Apuseni Mountains","authors":"Ciprian Mizgan-Danciu","doi":"10.24193/subbmusica.2023.spiss1.12","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.12","url":null,"abstract":"\"Many folklorists have analyzed traditional carols and caroling over time, but most of them focused on the development of the custom or on the morphology of carols. In this article, we will present the various interpretative formulas that we encountered during a folklore gathering session in the southern area of the Apuseni Mountains: men’s group, mixed group, individual performers, and children’s group. Each formula has interpretative particularities, with some formulas being constituted only for the purpose of communicating carols, despite not being encountered in the practice of caroling. The importance of each formula is presented with arguments, together with an exemplary sample of carols performed. Keywords: caroling, interpretative formula, traditional music, folk singing\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205648","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.05
Oleg Garaz
"Is it possible to communicate through music? Does music communicate something in particular? Is music like the message in a bottle – the meaning wrapped in the envelope of a form? Who would be the recipient of the musical message in this case – one, many, all of humanity, as in the IV parts of Beethoven’s Ninth Symphony? Or maybe just Captain Grant’s children? And how pertinent is the extrapolation of notional-discursive schema and logic to music as Mattheson did in Der Vollkommene Kapellmeister? Because this phrase – the message of music – immediately refers to both the suggestive neutrality of musical sounds and the emotional irrelevance of the relationships between them. Sounds are just sounds. Is a chord the analogy of the word, the melody the analogy of the phrase, and a whole articulation the substitute of a speech? Is music a language? Or, indeed, being both sonorous, but also processual and symbolic, just like spoken language, music does not connote in the same way. And if the language has prescribed references, then music does not. A chord, a melody, let alone a counterpoint, have no predetermined meaning, not even one resembling a notional one, even after the performance is over. Should the composer first be a very good connoisseur of human emotional behavior rather than a very good musician? Or, perhaps, a simple postman, as in the famous song of the Beatles? Keywords: message, communication, language, connotation, symbol, process, music"
{"title":"The Question of the Musical Message. The Semantic Capacity of the Expressive Structure","authors":"Oleg Garaz","doi":"10.24193/subbmusica.2023.spiss1.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.05","url":null,"abstract":"\"Is it possible to communicate through music? Does music communicate something in particular? Is music like the message in a bottle – the meaning wrapped in the envelope of a form? Who would be the recipient of the musical message in this case – one, many, all of humanity, as in the IV parts of Beethoven’s Ninth Symphony? Or maybe just Captain Grant’s children? And how pertinent is the extrapolation of notional-discursive schema and logic to music as Mattheson did in Der Vollkommene Kapellmeister? Because this phrase – the message of music – immediately refers to both the suggestive neutrality of musical sounds and the emotional irrelevance of the relationships between them. Sounds are just sounds. Is a chord the analogy of the word, the melody the analogy of the phrase, and a whole articulation the substitute of a speech? Is music a language? Or, indeed, being both sonorous, but also processual and symbolic, just like spoken language, music does not connote in the same way. And if the language has prescribed references, then music does not. A chord, a melody, let alone a counterpoint, have no predetermined meaning, not even one resembling a notional one, even after the performance is over. Should the composer first be a very good connoisseur of human emotional behavior rather than a very good musician? Or, perhaps, a simple postman, as in the famous song of the Beatles? Keywords: message, communication, language, connotation, symbol, process, music\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47791693","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.03
Alexandra Marinescu
"Henri Dutilleux was one of the prominent figures of European composition, especially in the second half of the 20th century. A complex personality, he worked throughout his career as a musician in various roles, from pianist, to accompanist, to conductor, to pedagogue, to composer, being one of the main promoters of French culture and beyond. He received numerous awards and recognitions for his entire activity, his reputation not only surpassing the borders of the country, but also the European ones. Although he began composing at a very young age, Dutilleux repeatedly omits to include these works in his catalogue, refusing even to mention them in the section of his interpreted works. Meticulous and extremely pedantic, he always made changes to his works, constantly crystallizing his style both throughout the varied musical experiences in which the musician took part and through the close collaborations he had with instrumental artists whom he consulted regarding timbral possibilities and techniques of the instruments he was writing for. His compositions, although not very numerous, encompass a genuistically vast variety, and an exhaustive stylistic approach. Although he always embraces new compositional techniques, Dutilleux never reaches a rational extremism, keeping in the foreground the idea of meaningful music, and not the other way around. He died on 22nd of May 2013, in Paris, at the age of 97. Keywords: Henri Dutilleux, French composer, 20th century"
{"title":"Homage to Henri Dutilleux","authors":"Alexandra Marinescu","doi":"10.24193/subbmusica.2023.spiss1.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.03","url":null,"abstract":"\"Henri Dutilleux was one of the prominent figures of European composition, especially in the second half of the 20th century. A complex personality, he worked throughout his career as a musician in various roles, from pianist, to accompanist, to conductor, to pedagogue, to composer, being one of the main promoters of French culture and beyond. He received numerous awards and recognitions for his entire activity, his reputation not only surpassing the borders of the country, but also the European ones. Although he began composing at a very young age, Dutilleux repeatedly omits to include these works in his catalogue, refusing even to mention them in the section of his interpreted works. Meticulous and extremely pedantic, he always made changes to his works, constantly crystallizing his style both throughout the varied musical experiences in which the musician took part and through the close collaborations he had with instrumental artists whom he consulted regarding timbral possibilities and techniques of the instruments he was writing for. His compositions, although not very numerous, encompass a genuistically vast variety, and an exhaustive stylistic approach. Although he always embraces new compositional techniques, Dutilleux never reaches a rational extremism, keeping in the foreground the idea of meaningful music, and not the other way around. He died on 22nd of May 2013, in Paris, at the age of 97. Keywords: Henri Dutilleux, French composer, 20th century\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48068442","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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