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Scriabin and Kodály in the Reading of Antal Molnár, Imre Molnár and Emil Haraszti 斯克里亚宾和科达利对安塔利·莫纳尔、伊姆雷·莫纳尔和埃米尔·哈拉什蒂的解读
0 MUSIC Pub Date : 2023-06-30 DOI: 10.24193/subbmusica.2023.1.13
Ákos Windhager
"This study examines how Kodály, his student Antal Molnár and his colleague Imre Molnár, and their adversary Emil Haraszti saw Scriabin’s music throughout the first half of the twentieth century. Audiences were responsive, as seen by the continuous performance of his works by Hungarian and international musicians beginning in 1906. There was a great deal of curiosity in his orchestral pieces, but only four of them were played ten times throughout the course of a century. Rêverie and Le Poème Divin debuted in Budapest in 1910, followed by Le Poème de l’extase in 1919, although Prometheus did not make its appearance until 2001. Kodály found his music peculiar and disinteresting, judging it to be a poorer disciple of Richard Strauss and Claude Debussy. However, following the composer’s death, his pupils discovered new values in him, characterizing him as mythical (like A. Molnár A.) and mystical (like I. Molnár). And Haraszti thought it was excellent music. A different interpretation referred to Scriabin as the ""Russian Bartók."" He was regarded as ""one of the most inventive experimenters of his time,"" which was a mixed acclaim. After 1945, newspapers mostly complimented his piano pieces and symphony conductors. Marxist aesthetes after 1949 saw his work as a failure due to his spiritual goals, which A. Molnár regarded as a distinctive value. Two pioneering conductors, who considered Kodály their distant teacher, Z. Kocsis and A. Ertüngealp, gave the first performances of his hitherto unperformed pieces after 1990. Keywords: Kodaly, Scriabin, Antal Molnár, Imre Molnár, Emil Haraszti, impressionism, ecstasy"
这项研究考察了Kodály、他的学生Antal Molnár和他的同事Imre Molnár以及他们的对手Emil Haraszti是如何看待整个20世纪上半叶斯克里亚宾的音乐的。从1906年开始,匈牙利和国际音乐家不断演奏他的作品,观众对此反响热烈。人们对他的管弦乐作品充满好奇,但在一个世纪的时间里,只有四首作品被演奏了十次。Rêverie和Le po del ' exase于1910年在布达佩斯首次亮相,随后Le po del ' exase于1919年亮相,尽管普罗米修斯直到2001年才出现。Kodály发现他的音乐奇特而无趣,认为它是理查德·施特劳斯和克劳德·德彪西的一个较差的门徒。然而,在作曲家去世后,他的学生在他身上发现了新的价值,将他描述为神话(如A. Molnár A.)和神秘(如I. Molnár)。Haraszti认为这是很棒的音乐。另一种解释是斯克里亚宾是“俄罗斯人Bartók”。他被认为是“他那个时代最具创造力的实验者之一”,这是一种褒贬不一的评价。1945年以后,报纸大多称赞他的钢琴作品和交响乐指挥。1949年后的马克思主义美学家认为他的作品是失败的,因为他的精神目标,a . Molnár认为这是一种独特的价值。两位先锋指挥家Z. Kocsis和A. ert ngealp在1990年之后首次演出了他迄今尚未演出的作品,他们认为Kodály是他们遥远的老师。关键词:Kodaly, Scriabin, Antal Molnár, Imre Molnár, Emil Haraszti,印象派,狂喜
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引用次数: 0
Kodály and Impressionism. The Influence of Debussy Kodály和印象派。德彪西的影响
0 MUSIC Pub Date : 2023-06-30 DOI: 10.24193/subbmusica.2023.1.05
Miklós Fekete
"The paper examines Debussy’s influence on the young Kodály. First, it enumerates those historical events, that link Kodály to Debussy’s music, then it compares his newly developed style with that of his earlier and later works. By analyzing the piano works Méditation, sur un motif de Claude Debussy and Épitaphe (Seven pieces for piano, Op. 11, No. 4) the paper highlights a few impressionistic compositional techniques that appear in these works, then examines those ones, which Kodály takes on and fits in his latter, predominant neoclassical-folkloric style. Keywords: Kodály, Impressionism, Debussy, style, compositional techniques, analysis"
这篇论文探讨了德彪西对年轻人的影响Kodály。首先,它列举了那些历史事件,将Kodály与德彪西的音乐联系起来,然后将他新形成的风格与他早期和后期的作品进行比较。通过分析钢琴作品《msamditation》、《sur un motif de Claude Debussy》和Épitaphe(七件钢琴作品,Op. 11, No. 4),本文重点介绍了这些作品中出现的一些印象派作曲技巧,然后检查了这些技巧,Kodály采用并适合他的后者,主要的新古典主义民间风格。关键词:Kodály,印象派,德彪西,风格,构图技巧,分析
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引用次数: 0
Master and His “Illegitimate Pupil”: Zoltán Kodály and Ferenc Farkas 大师和他的“非法学生”:Zoltán Kodály和Ferenc Farkas
0 MUSIC Pub Date : 2023-06-30 DOI: 10.24193/subbmusica.2023.1.09
Zsombor Németh
"A printed copy of his song cycle Fruit Basket, which Ferenc Farkas gave to Zoltán Kodály, bears the following dedication: “To Zoltán Kodály from his illegitimate pupil”. With the help of surviving written sources and other memorabilia, the present study attempts to explain the term “illegitimate pupil”. It answers the question of why Farkas did not study with Kodály, examines the relationship that later developed between the two. The influence of Kodály on Farkas as a composer is also discussed; however, only the most important examples and trends will be presented. This study also examines the actions Farkas took to cultivate Kodály’s memory after his death, and what he thought of the Kodály epigonism. Keywords: Zoltán Kodály, Ferenc Farkas, 20th century Hungarian music, biography, influence, epigonism"
Ferenc Farkas送给Zoltán Kodály的歌曲《果篮》的印刷本上有以下题词:“从他的私生子那里送给Zoltón Koály”。借助幸存的书面资料和其他纪念品,本研究试图解释“私生子”一词它回答了为什么法尔卡斯没有和科达利一起学习的问题,考察了后来两人之间发展起来的关系。文章还讨论了柯达利对法尔卡斯作曲家的影响;然而,只会介绍最重要的例子和趋势。这项研究还考察了法尔卡斯在去世后为培养科达利的记忆而采取的行动,以及他对科达利表观主义的看法。关键词:佐尔坦·科达利,费伦茨·法尔卡斯,20世纪匈牙利音乐,传记,影响,表观主义”
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引用次数: 0
Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972) 奇克·科雷亚1972年西班牙即兴创作的基本分析
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.spiss2.07
Florina Bălan
"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
现代爵士乐可以被认为是现代音乐的一个平等的组成部分,由于无数的实验,有时被认为是奇怪的或不被听众真正同意。当谈到现代音乐生活和以适当的方式制作音乐的可能性时,毫无疑问,像沃尔夫冈·阿马迪斯·莫扎特或路德维希·范·贝多芬这样的作曲家的价值和天才必须得到承认。然而,人们也必须认识到,现代生活及其现代、当代音乐也是需要的。伟大的爵士萨克斯管演奏家查理·帕克认为即兴创作是世界的中心,在那里,即使只有短暂的片刻,一个人也可以成为世界上最好、最伟大的作曲家。此外,歌曲(主题)的想法是音乐家们聚集在一起精心制作的唯一原因,具有变化的自发性,这是一种独特的,也许是不可复制的音乐表现形式。Chick Corea的作品反映了这一观点,正如下文讨论的对西班牙(1972)作品的分析将证明的那样。该作品融合了西班牙音乐和现代爵士乐的作曲方法,体现了韩国独特的风格。即兴创作是这个作品的基础,为音乐家提供了多种表达他关于自由和人性的想法的可能性。关键词:爵士乐,钢琴即兴,自发性,创造性,和声知识,当代
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引用次数: 0
The Granularity Paradigm in the Electroacoustic Music of Iannis Xenakis Iannis Xenakis电声音乐中的粒度范式
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.2.01
Adrian Borza
"The cultural legacy left to us by composer Iannis Xenakis (1922–2001) is impressive and undoubtedly had a massive impact on some generations of musicians. His artistic ideal stands as proof. Fueled by science and engineering, his inheritance has been eagerly discussed in numerous books, studies, and doctoral theses. Our study underlines the viability of I. Xenakis’s compositional model. Xenakis painstakingly circumscribes scientific theories and laws in his method of composition in the instrumental and electroacoustic genres. We will emphasize the hypothesis that the granularity paradigm traverses his musical works Concret PH, Analogique B, and GENDY3. Keywords: Granularity paradigm, stochastic synthesis, random walk, architecture, mathematics, music "
“作曲家伊安尼斯·谢纳基斯(1922-2001)留给我们的文化遗产令人印象深刻,无疑对几代音乐家产生了巨大的影响。他的艺术理想就是明证。在科学和工程的推动下,他的遗产在许多书籍、研究和博士论文中得到了热烈的讨论。我们的研究强调了I. Xenakis合成模型的可行性。Xenakis煞费苦心地在他的器乐和电声流派的作曲方法中限定了科学理论和规律。我们将强调粒度范式贯穿他的音乐作品concrete PH, analoggique B和GENDY3的假设。关键词:粒度范式,随机合成,随机漫步,建筑,数学,音乐
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引用次数: 0
Musical Intentions of Austro-Hungarian Period in Bukovina 奥匈时期布科维纳的音乐意向
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.2.03
Y. Kapliyenko-Iliuk
"During the period of Austro-Hungarian rule, Bukovina demonstrated a great breakthrough in both socio-economic and cultural development. We find a reflection of the peculiarities of musical culture in the writings of that time. Even though musicology in the region was not a priority during the reign of the Habsburg monarchy, a few scientific, pedagogical and cultural works were found. We consider the work of Anton Norst to be the most informative source about the culture of Bukovina as the book reveals the bright moments of the region’s musical life. A significant achievement in the field of music pedagogy is the book on harmony by Sydir Vorobkevych, which became a textbook on musical literacy for Bukovynian musicians. Therefore, the presence of such scientific music-theoretical investigations makes it possible to draw conclusions about certain achievements of the Bukovinians in the field of historical and theoretical musicology. After all, the scientific works of Bukovynian authors were in demand during the period of their creation and are of interest even today. Keywords: musicology of Bukovina, Bukovynian culture, musical harmony, Anton Norst, Sydir Vorobkevych. "
在奥匈帝国统治时期,布科维纳在社会经济和文化发展方面都取得了巨大突破。我们在那个时代的作品中发现了音乐文化特点的反映。尽管在哈布斯堡王朝统治时期,该地区的音乐学并不是一个优先考虑的问题,但还是发现了一些科学、教育和文化方面的作品。我们认为安东·诺斯特的作品是关于布科维纳文化的最翔实的资料来源,因为这本书揭示了该地区音乐生活的光明时刻。在音乐教学领域的一项重大成就是Sydir Vorobkevych关于和声的书,这本书成为了布科维尼亚音乐家的音乐素养教科书。因此,这种科学的音乐理论研究的存在,使我们有可能得出关于布科维尼人在历史和理论音乐学领域的某些成就的结论。毕竟,布科维尼亚作家的科学著作在他们创作的时期是很受欢迎的,即使在今天也很受欢迎。关键词:布科维纳音乐学,布科维纳文化,音乐和谐,安东·诺斯特,西迪尔·沃罗科维奇
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引用次数: 0
The Lord’s Birth Troparion, Transylvanian Exegeses 《主的诞生》,特兰西瓦尼亚解经家
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.2.11
D. Mocanu
"Church music of Transylvanian tradition expresses itself through the two quintessential styles, one through the voice and one through the text. The musical variants are recorded for the first time in musical notation by Dimitrie Cunțanu, in the year 1890, they also have a singed recording, which is still the today standard. The Lord’s Birth Troparion represents a good example of the music style in Transylvania. Fixed in musical notation and singed in most churches around here, this one met the most fixes and “repairs” out of them all and because of this today we have numerous versions of it. On another note, the musical double use, liturgical and ceremonial, it made it that this song to become the musical model which the church singers use when they want to sing without a noted song or book from which they are regulated. The multiple musical variants that exist nowadays demonstrate the presence of common background music, from which the ones that wrote the songs a long time ago and the today singers inspired themselves and sing like that today. The songs analyzed show us the value of the song variants ensemble, which together mark a singing style in the local zone. Keywords: troparion (hymn), The Lord’s Birth (song used in church), Dimitrie Cunțanu (song writer) "
“特兰西瓦尼亚传统的教会音乐通过两种典型的风格来表达自己,一种通过声音,一种通过文本。音乐变体由Dimitrie Cunțanu首次以乐谱记录,在1890年,它们也有一个歌唱录音,这仍然是今天的标准。主的诞生Troparion是特兰西瓦尼亚音乐风格的一个很好的例子。这首歌被固定在乐谱上,并在附近的大多数教堂里演唱,这首歌在所有这些歌曲中得到了最多的修复和“修复”,因此今天我们有很多版本。另一方面,音乐的双重用途,礼拜仪式和仪式,这使得这首歌成为教堂歌手的音乐模式当他们想要唱歌时,没有一首著名的歌曲或一本书来规范他们。如今存在的多种音乐变体表明了共同背景音乐的存在,很久以前写歌的人和今天的歌手都从这些背景音乐中获得灵感,并像今天那样唱歌。分析的歌曲向我们展示了歌曲变体合奏的价值,它们共同标志着当地的一种演唱风格。关键词:troparion(赞美诗),The Lord 's Birth(教堂用歌曲),Dimitrie Cunțanu(词作者)
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引用次数: 0
"Rational and Emotional Factors in Music and Performance Aesthetics " 音乐与表演美学中的理性与情感因素
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.2.13
V. Zaiets, O. Zaiets
"The leading task of the research is the definition and analysis of psychological factors, which depend not only on the formation, but also on the independent improvement of already acquired features of musical skills, including those that allow a performing musician to influence his/her own emotional sphere, keep it under constant control, adapt to the innate temperament and skills already formed in the process of professional training and performance practice. It is the analysis of these factors that makes it possible to recommend ways and methods of creating an individual style of a musician’s concert activities, as well as the constant self-improvement of his/her skills, which is necessary for a performing musician. The emotional and rational assimilation processes presented for analysis as initial factors of creative activity form the aesthetic relationship of the individual to reality directly through the subject of active communication with art (musical and instrumental, in particular). Keywords: performance process, psychology, aesthetics, motivation, rational and emotional factors "
“本研究的主要任务是对心理因素的定义和分析,这些心理因素不仅取决于音乐技能的形成,而且取决于对已经获得的音乐技能特征的独立改进,包括演奏音乐家能够影响自己的情感领域,使其处于不断的控制之下,适应在专业训练和演奏实践过程中已经形成的先天气质和技能。”正是对这些因素的分析,才有可能提出创造音乐家音乐会活动的个人风格的方式和方法,以及不断提高他/她的技能,这是一个表演音乐家所必需的。作为创造性活动的初始因素,情感和理性的同化过程通过与艺术(尤其是音乐和乐器)的积极交流,直接形成了个人与现实的审美关系。关键词:表演过程,心理学,美学,动机,理性与情感因素
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引用次数: 0
Designing an Educational Concert. The Analysis of The Noah’s Ark Children’s Concert 设计一场教育音乐会。诺亚方舟儿童音乐会探析
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.2.06
Dalma-Lidia Toadere
"To design an educational concert, for it to be a valuable cultural-educational event and be attractive to children, various pedagogical, psychological, musical, and organizational aspects must be considered. These will be presented and illustrated through the analysis of the Noah’s Ark children’s concert, moderated, and conducted by the author as part of the Do Re Mi Start! educational program of the Gheorghe Dima National Music Academy. Keywords: educational concert for children, repertoire, visual elements, elements of music mediation. "
“为了设计一场教育音乐会,使其成为一场有价值的文化教育活动,并对儿童有吸引力,必须考虑各种教学、心理、音乐和组织方面。这些都将通过分析诺亚方舟儿童音乐会来呈现和说明,该音乐会由作者主持并指挥,作为Do Re Mi Start!教育计划的一部分我来自迪玛国家音乐学院。关键词:儿童教育音乐会,曲目,视觉元素,音乐中介元素。“
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引用次数: 0
The Origin of the Concept of Style in European Musical Thinking 欧洲音乐思想中风格概念的起源
0 MUSIC Pub Date : 2022-12-20 DOI: 10.24193/subbmusica.2022.spiss2.01
Oleg Garaz
"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery. Keywords: history of style, stylistic canon, style as a genre, style as a metanarrative, liberation from style "
从本质上讲,欧洲音乐思维中风格概念的出现是文艺复兴末期产生的转变的结果。语言和音乐表达简单化的趋势,以及两者从属于概念诗意话语的趋势,决定了不可想象的:修辞的霸权,以及隐含的风格,作为一种修辞子类,具有组织和控制音乐暗示性的功能——音乐可表达情感的分类。也是在音乐巴洛克时期,风格概念的实际插入开始于与所有三种形式的流派思想共存:作为音乐行为表演的特定栖息地,作为作曲系数,同样作为一种精神气质。这种困惑将持续到风格概念使用的整个时期,随着后现代主义的介入逐渐消退。作为功能和语义错位的工具,风格也与术语“正典”有关,这是唯一的价值参考,直到从数学-宇宙的四分之一转向话语-语言学的三分之一(Del Bene时刻,1586)。风格除了从体裁概念中接过归属之外,还主张经典作为唯一价值参照的功能。从巴洛克开始,我们已经谈到了风格的经典。风格对规范功能的完全吸收发生在维也纳古典主义时期,当时风格成为一种个性化的生物参考,依附于一位杰出人物的音乐思维(威廉·冯·伦茨,贝多芬et ses trois styles, 1855)。音乐浪漫主义将对风格的理解提升到几乎绝对排他性的水平,与天才音乐家(李斯特-瓦格纳范式)所表现的先验主义相提并论。浪漫主义的消散决定了通过气质的认同回归:真实主义、表现主义、印象派-象征主义和自然主义,所以只有在第一次音乐现代主义(1900-1914)期间,我们才看到文艺复兴时期对纯粹技术的接受的回归:无调性风格,在第二次现代主义(1918-1939)期间-十二声部风格,系列风格,进一步,在第三次现代主义(1946-1968)期间-随机音乐风格,任意音乐风格,极简主义风格等。风格概念作为一种通过分化进行认同的过程(Boris Asafiev)和显然作为一种元叙事的无用性,已经在音乐后现代主义中被揭示出来,后现代主义的三种反元叙事的“意识形态”:不信任的意识形态、碎片的意识形态和恢复的意识形态。关键词:文体史,文体经典,文体作为体裁,文体作为元叙事,文体解放
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引用次数: 1
期刊
Studia Universitatis Babes-Bolyai Musica
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