Pub Date : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.05
Krisztina Sinka
"Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. Keywords: Péter Eötvös, opera, Three Sisters, libretto, musical symbolism, triad, third-parallels, instrumental symbolism, prose, sung speech, song "
{"title":"Musical Symbols in the Opera The Three Sisters by Péter Eötvös","authors":"Krisztina Sinka","doi":"10.24193/subbmusica.2022.spiss2.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.05","url":null,"abstract":"\"Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. Keywords: Péter Eötvös, opera, Three Sisters, libretto, musical symbolism, triad, third-parallels, instrumental symbolism, prose, sung speech, song \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202842","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.2.12
Maria-Roxana Bischin
"Starting with Johann Wolfgang von Goethe’s vision, who acclaimed that ‘Music is liquid architecture; architecture is frozen music’ , this is an investigation that touches subthemes as a psychological analysis of the characters from the film « Le Mépris » (by Jean-Luc Godard, 1963), made after the eponym novel «Il disprezzo» by Alberto Moravia (1954); an analysis into the music of the film composed by Georges Delerue (1925-1992) – « Thème de Camille », an investigation in George Delerue’s music and other iconic songs from the decade’s atmosphere; a short philosophical introduction into the universe of the architect Curzio Malaparte (1898-1957) and ʻCasa Malaparteʼ from Capri Island. Said so, ʻCasa Malaparteʼ is bought into analysis through the aesthetical-architectural filter of some nowadays epic mansions/residences from Laval, Montréal, Las Vegas, Atlanta, Los Angeles, Bucharest-Kiseleff-Aviatorilor area, which are included in the architectural research-portfolio. More than this, we try to check how architectural structures sculpture the musicalized Being’s essences using examples such as Belle Abri, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa Leopolda, Villa D. Ionescu, Bel-Air, and other magnifiques villas that seem aesthetically very close to Casa Malaparte. In addition, this paper answers the following fundamental questions: Why, sometimes, the music saves/repairs the architectural existentialism? And why is it so important for architecture to create and re-create permanent music? The paper opens and enriches a collaborative research niche between architecture, music, analysis-methods from philosophy field, and the applied philosophies ʻbehindʼ the real estate portfolios; This paper is an exploration of the beautiful universe of some representative mansions, outlining the ineluctable liaison between sonorous structures and architectural structures, highlighting that the vision of Wolfgang Goethe is still alive in the buildings that surround our cities. This paper is a research realised between 2021 and 2022, and it combines observations from philosophy, architecture, literature, music, and real estate’s domain. Keywords: ʻMalapartism ̓, Georges Delerue, “Camille”, Curzio Malaparte, Alberto Moravia, Mohamed Hadid, sun’s phenomenology, light, architectural structures, musical structures, Adalberto Libera, Casa Malaparte, Belle Abri, Bel-Air, Hadid’s architectural structures, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa D. Ionescu. "
“从约翰·沃尔夫冈·冯·歌德的愿景开始，他称赞‘音乐是流动的建筑;建筑是凝固的音乐”,这是一个调查,触摸subthemes作为心理分析电影中的人物“拿起”(让-吕克·戈达尔,1963年),后齐名的人小说«Il disprezzo»Alberto摩拉维亚(1954);对乔治·德勒鲁(1925-1992)创作的电影音乐的分析-«th de Camille»，对乔治·德勒鲁的音乐和其他十年氛围中的标志性歌曲的调查;简短的哲学介绍了建筑师Curzio Malaparte(1898-1957)和来自卡普里岛的Casa Malaparte。因此，我们通过对拉伐尔、蒙特雷姆塔尔、拉斯维加斯、亚特兰大、洛杉矶、布加勒斯特-基谢勒夫-阿维托利地区的一些当代史诗级豪宅/住宅的美学建筑筛选，将“马拉帕特之家”纳入了建筑研究组合。除此之外，我们还试图通过Belle Abri、Villa c dres、Villa Astor、Palazzo di Amore、Villa Leopolda、Villa D. Ionescu、Bel-Air等在美学上与Casa Malaparte非常接近的宏伟别墅来检查建筑结构是如何雕刻音乐化的Being的本质的。此外，本文还回答了以下几个基本问题:为什么音乐有时会拯救/修复建筑的存在主义?为什么对建筑来说，创造和再创造永恒的音乐如此重要?本文打开并丰富了建筑、音乐、哲学领域的分析方法与房地产投资组合背后的应用哲学之间的合作研究利基;本文通过对一些具有代表性的豪宅的美丽宇宙的探索，概述了铿锵结构与建筑结构之间的必然联系，强调了沃尔夫冈·歌德的愿景仍然存在于我们城市周围的建筑中。本文是一项在2021年至2022年间实现的研究，它结合了哲学、建筑、文学、音乐和房地产领域的观察。关键词:Malapartism, Georges Delerue，“Camille”，Curzio Malaparte, Alberto Moravia, Mohamed Hadid，太阳现象学，光，建筑结构，音乐结构，Adalberto Libera, Casa Malaparte, Belle Abri, Bel-Air, Hadid的建筑结构，Villa c dres, Villa Astor, Palazzo di Amore, Villa D. Ionescu。
{"title":"\"The ʻMalapartism ̓ – A Musicalized «Pleuresement»: Curzio Malaparte, Alberto Moravia, Adalberto Libera and the Architectural Structures of the ʻBeingnessʼ \"","authors":"Maria-Roxana Bischin","doi":"10.24193/subbmusica.2022.2.12","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.12","url":null,"abstract":"\"Starting with Johann Wolfgang von Goethe’s vision, who acclaimed that ‘Music is liquid architecture; architecture is frozen music’ , this is an investigation that touches subthemes as a psychological analysis of the characters from the film « Le Mépris » (by Jean-Luc Godard, 1963), made after the eponym novel «Il disprezzo» by Alberto Moravia (1954); an analysis into the music of the film composed by Georges Delerue (1925-1992) – « Thème de Camille », an investigation in George Delerue’s music and other iconic songs from the decade’s atmosphere; a short philosophical introduction into the universe of the architect Curzio Malaparte (1898-1957) and ʻCasa Malaparteʼ from Capri Island. Said so, ʻCasa Malaparteʼ is bought into analysis through the aesthetical-architectural filter of some nowadays epic mansions/residences from Laval, Montréal, Las Vegas, Atlanta, Los Angeles, Bucharest-Kiseleff-Aviatorilor area, which are included in the architectural research-portfolio. More than this, we try to check how architectural structures sculpture the musicalized Being’s essences using examples such as Belle Abri, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa Leopolda, Villa D. Ionescu, Bel-Air, and other magnifiques villas that seem aesthetically very close to Casa Malaparte. In addition, this paper answers the following fundamental questions: Why, sometimes, the music saves/repairs the architectural existentialism? And why is it so important for architecture to create and re-create permanent music? The paper opens and enriches a collaborative research niche between architecture, music, analysis-methods from philosophy field, and the applied philosophies ʻbehindʼ the real estate portfolios; This paper is an exploration of the beautiful universe of some representative mansions, outlining the ineluctable liaison between sonorous structures and architectural structures, highlighting that the vision of Wolfgang Goethe is still alive in the buildings that surround our cities. This paper is a research realised between 2021 and 2022, and it combines observations from philosophy, architecture, literature, music, and real estate’s domain. Keywords: ʻMalapartism ̓, Georges Delerue, “Camille”, Curzio Malaparte, Alberto Moravia, Mohamed Hadid, sun’s phenomenology, light, architectural structures, musical structures, Adalberto Libera, Casa Malaparte, Belle Abri, Bel-Air, Hadid’s architectural structures, Villa Cèdres, Villa Astor, Palazzo di Amore, Villa D. Ionescu. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69201387","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.10
Judit Csüllög
"Zoltán Kodály is mostly known for his pedagogical concept, however he was also a respected composer. The Seven Piano Pieces is one of his most popular series amongst piano teachers. The compositions are very colourful following different trends of the early 20th century such as the styles of Debussy and Bartók and take inspiration from Hungarian folk music. This article focuses on the presentation and analysis of each piece and points out the connections between them based on the style in which they were written. Keywords: Zoltán Kodály, piano pieces, 20th century, Béla Bartók, Hungarian folk music, impressionism "
Zoltán Kodály主要以他的教学理念而闻名，但他也是一位受人尊敬的作曲家。《七首钢琴曲》是他最受钢琴教师欢迎的系列作品之一。作品非常丰富多彩，遵循20世纪早期的不同趋势，如德彪西和Bartók的风格，并从匈牙利民间音乐中汲取灵感。本文将重点介绍和分析每一篇文章，并根据它们的写作风格指出它们之间的联系。关键词:Zoltán Kodály，钢琴作品，20世纪，b忧郁Bartók，匈牙利民间音乐，印象派
{"title":"Zoltán Kodály, Seven Piano Pieces OP. 11","authors":"Judit Csüllög","doi":"10.24193/subbmusica.2022.spiss2.10","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.10","url":null,"abstract":"\"Zoltán Kodály is mostly known for his pedagogical concept, however he was also a respected composer. The Seven Piano Pieces is one of his most popular series amongst piano teachers. The compositions are very colourful following different trends of the early 20th century such as the styles of Debussy and Bartók and take inspiration from Hungarian folk music. This article focuses on the presentation and analysis of each piece and points out the connections between them based on the style in which they were written. Keywords: Zoltán Kodály, piano pieces, 20th century, Béla Bartók, Hungarian folk music, impressionism \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69203368","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.06
Olena Batovska, N. Grebenuk, Nataliy Byelik-Zolotaryova, Yu. M. Ivanova, T. Sukhomlinova, Iana Kaushnian
"The problem of traditions and innovations in vocal and choral performance is a large-scale, many-sided integral system. This phenomenon of musical culture combines the classical direction and modernization of interpretation processes, which determines the topicality of the research. The aim of the article was to reveal the phenomenon of traditions and innovations in vocal and choral art as a complex multi-vector phenomenon that includes components of different scales, content, and functions that they perform. Methods. The research involved theoretical and practical methods. Problem: theoretical methods are represented by the analysis and arrangement of materials; identification of the main elements of the problem; generalization of the data obtained during the research. The practical methods are based on the search for and collection of scientific concepts and empirical data from the fields of performance, history, pedagogy, philosophy, aesthetics, medicine; on the monitoring of educational, as well as concert and performing activities; creative collaboration with soloists and the choral group. Results. The problem of traditions and innovations in vocal and choral performance is based on the following blocks: preservation of classical principles of academic vocal performance; their synthesis with discoveries and achievements of other spheres; modernization promoted by the expansion and updating of the genre framework, as well as modern engineering equipment. Conclusions. The fact of significance of the phenomenon of traditions and innovations in vocal and choral performance for the culture of society was revealed during the research. Its universality as a many-sided, flexible, large-scale integral phenomenon which consists of many different elements that play a leading role in its formation and are closely related was proved. Its interaction with different areas of society is shown. Prospects. The issue of traditions and innovations in vocal and choral performance is constantly enriched with new content, expands the scope of its implementation and interaction with various forms of social consciousness, science, medicine, which necessitates further study of this phenomenon. Keywords: academic vocal performance; performance software support; practice of vocal and choral art; educational and performance activities; breathing exercises; artistic directing; monitoring of educational and concert practice. "
{"title":"Traditions and Innovations in Contemporary Vocal and Choral Art","authors":"Olena Batovska, N. Grebenuk, Nataliy Byelik-Zolotaryova, Yu. M. Ivanova, T. Sukhomlinova, Iana Kaushnian","doi":"10.24193/subbmusica.2022.spiss2.06","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.06","url":null,"abstract":"\"The problem of traditions and innovations in vocal and choral performance is a large-scale, many-sided integral system. This phenomenon of musical culture combines the classical direction and modernization of interpretation processes, which determines the topicality of the research. The aim of the article was to reveal the phenomenon of traditions and innovations in vocal and choral art as a complex multi-vector phenomenon that includes components of different scales, content, and functions that they perform. Methods. The research involved theoretical and practical methods. Problem: theoretical methods are represented by the analysis and arrangement of materials; identification of the main elements of the problem; generalization of the data obtained during the research. The practical methods are based on the search for and collection of scientific concepts and empirical data from the fields of performance, history, pedagogy, philosophy, aesthetics, medicine; on the monitoring of educational, as well as concert and performing activities; creative collaboration with soloists and the choral group. Results. The problem of traditions and innovations in vocal and choral performance is based on the following blocks: preservation of classical principles of academic vocal performance; their synthesis with discoveries and achievements of other spheres; modernization promoted by the expansion and updating of the genre framework, as well as modern engineering equipment. Conclusions. The fact of significance of the phenomenon of traditions and innovations in vocal and choral performance for the culture of society was revealed during the research. Its universality as a many-sided, flexible, large-scale integral phenomenon which consists of many different elements that play a leading role in its formation and are closely related was proved. Its interaction with different areas of society is shown. Prospects. The issue of traditions and innovations in vocal and choral performance is constantly enriched with new content, expands the scope of its implementation and interaction with various forms of social consciousness, science, medicine, which necessitates further study of this phenomenon. Keywords: academic vocal performance; performance software support; practice of vocal and choral art; educational and performance activities; breathing exercises; artistic directing; monitoring of educational and concert practice. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47013420","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.2.02
Christophe Alvarez
"This article discusses the author’s process of reconstructing the “Ballet du Temps”, one of the great court ballets of the French 17th century, danced by King Louis XIV in 1654, which has remained partially copied by Philidor. With the Violin 1 being the only remnant of what has been this Ballet, the article presents the issues raised during the musical rewriting, notably the harmonic formulation, the instrumentarium, the ornaments, among others. This study also recalls the fundamental aesthetic differentiation between the Ballet dances (called Entrées and Airs in the score) and the society dances, which, in the context of the choreographic reconstruction, implies a flexible approach in which expressing the dramaturgy of the Entrée is central. Keywords: ballet de cour, recreation, French 17th century, performance study "
{"title":"Re-write and Re-create the French “Ballet du temps” (1654): Knowledge, Historical Sources, and Creative Strategies","authors":"Christophe Alvarez","doi":"10.24193/subbmusica.2022.2.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.02","url":null,"abstract":"\"This article discusses the author’s process of reconstructing the “Ballet du Temps”, one of the great court ballets of the French 17th century, danced by King Louis XIV in 1654, which has remained partially copied by Philidor. With the Violin 1 being the only remnant of what has been this Ballet, the article presents the issues raised during the musical rewriting, notably the harmonic formulation, the instrumentarium, the ornaments, among others. This study also recalls the fundamental aesthetic differentiation between the Ballet dances (called Entrées and Airs in the score) and the society dances, which, in the context of the choreographic reconstruction, implies a flexible approach in which expressing the dramaturgy of the Entrée is central. Keywords: ballet de cour, recreation, French 17th century, performance study \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200474","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.04
Virđinia Totan, Petruța-Maria Coroiu
"Vasilije Mokranjac can be seen as a paradigm for an entire generation of Serbian composers who started creating at an unfavourable historical moment. In time, he moved away from his initial stylistic ideas, and, by constant transformation of his practically neoclassical style, he created a heterogeneous work. He dealt most intensely with piano music and, as a result, he contributed the most, both quantitatively and qualitatively, to this area. Keywords: Vasilije Mokranjac, piano compositions, stylistic "
{"title":"The Stylistic Features of Vasilije Mokranjac’s Piano Compositions","authors":"Virđinia Totan, Petruța-Maria Coroiu","doi":"10.24193/subbmusica.2022.spiss2.04","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.04","url":null,"abstract":"\"Vasilije Mokranjac can be seen as a paradigm for an entire generation of Serbian composers who started creating at an unfavourable historical moment. In time, he moved away from his initial stylistic ideas, and, by constant transformation of his practically neoclassical style, he created a heterogeneous work. He dealt most intensely with piano music and, as a result, he contributed the most, both quantitatively and qualitatively, to this area. Keywords: Vasilije Mokranjac, piano compositions, stylistic \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202885","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.13
Iulia Mogoșan
"Dieter Acker’s String Quartet No. 1 represents a turning point in the composer’s output, being an opus composed in his last year of study in Sigismund Toduță’s composition class (1964) and one which brought him international recognition, winning second prize at the 1966 Prague Spring International Festival. This study presents biographical, historical, and analytical aspects of the work which are reflected in its musical structure, revealing both a respect for the historical tradition of past centuries and the search for new orientations of the musical avant-garde. Through arguments related to the biography of the young Dieter Acker, trained under Franz Xaver Dressler and Sigismund Toduță, the study presents the unity of meaning and content that is directly reflected in String Quartet No. 1. Keywords: Dieter Acker, String Quartet No. 1, Sigismund Toduță, Anton Webern reception, Palindrome "
{"title":"In Search of “The More Important” in String Quartet no. 1 by Dieter Acker","authors":"Iulia Mogoșan","doi":"10.24193/subbmusica.2022.spiss2.13","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.13","url":null,"abstract":"\"Dieter Acker’s String Quartet No. 1 represents a turning point in the composer’s output, being an opus composed in his last year of study in Sigismund Toduță’s composition class (1964) and one which brought him international recognition, winning second prize at the 1966 Prague Spring International Festival. This study presents biographical, historical, and analytical aspects of the work which are reflected in its musical structure, revealing both a respect for the historical tradition of past centuries and the search for new orientations of the musical avant-garde. Through arguments related to the biography of the young Dieter Acker, trained under Franz Xaver Dressler and Sigismund Toduță, the study presents the unity of meaning and content that is directly reflected in String Quartet No. 1. Keywords: Dieter Acker, String Quartet No. 1, Sigismund Toduță, Anton Webern reception, Palindrome \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69203600","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.14
Cristian Bence-Muk
"Among the three string quartets of the Cluj composer, we have chosen to focus on the opus Opt bagatele pentru cvartet de coarde [Eight bagatelles for string quartet] (1996), awarded with the “George Enescu” Prize of the Romanian Academy, and whose ideational, thematic, and dramatic ground is a previous choral cycle of the author, Galgenlieder-Bagatellen (1987), lyrics from Galgenlieder / Gallows Songs by Christian Morgenstern (1905). Notwithstanding the inherent differences between the instrumental and vocal versions, the musical attitudes preserve the predilection and appetence for the vocal composition that Adrian Pop holds so dear, including through the use of certain vocal phonemes, the chromatics of the chordophones in the third bagatelle. The instrumental and chromatic refinement of the eight bagatelles confirms the essential role they play in the creation of one of the most important contemporary composers of Cluj and Romania. Keywords: Adrian Pop, bagatelle, version, transcription, rewriting, contemporary "
{"title":"From Choir to String Quartet – Sound Metamorphoses in the Composition of the Work Opt bagatele pentru cvartet de coarde by Adrian Pop","authors":"Cristian Bence-Muk","doi":"10.24193/subbmusica.2022.spiss2.14","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.14","url":null,"abstract":"\"Among the three string quartets of the Cluj composer, we have chosen to focus on the opus Opt bagatele pentru cvartet de coarde [Eight bagatelles for string quartet] (1996), awarded with the “George Enescu” Prize of the Romanian Academy, and whose ideational, thematic, and dramatic ground is a previous choral cycle of the author, Galgenlieder-Bagatellen (1987), lyrics from Galgenlieder / Gallows Songs by Christian Morgenstern (1905). Notwithstanding the inherent differences between the instrumental and vocal versions, the musical attitudes preserve the predilection and appetence for the vocal composition that Adrian Pop holds so dear, including through the use of certain vocal phonemes, the chromatics of the chordophones in the third bagatelle. The instrumental and chromatic refinement of the eight bagatelles confirms the essential role they play in the creation of one of the most important contemporary composers of Cluj and Romania. Keywords: Adrian Pop, bagatelle, version, transcription, rewriting, contemporary \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69203658","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 : 2022-12-20DOI: 10.24193/subbmusica.2022.spiss2.08
Tymur Ivannikov, T. Filatova
"The article is focused on the problematic research area in the borderline between performance, musical and composer’s interests in academic guitar music. Modern growth trends have been identified in the sound production experimental reserves being not typical for the classical guitar performance stroke in concert practice until the early 20th century. A specific method typology of sound production has been proposed: using the technical performance parameters, phonic and visual sound effects, the origin, and primary, authentic realms of life. The connections with similar processes in other instrumental areas have been traced. The light has been thrown on technical and aesthetic facets. The specific methods in sound production stroke, the tone quality and acoustic characteristics varying in range, the expanded visual noise sound effects, and graphic images in the score have been examined. The artistic music samples of the whole generation of experimental composers, namely the French ones: Maurice Ohana, Roland Dyens, Francis Kleynjans and the Chilean ones: Juan Antonio Sánchez, Gustavo Becerra Schmidt analyzed through specific methods of guitar sound extraction have resulted in marked imaginative connections and associations with the content core of musical works. Keywords: guitar music, specific methods of sound extraction, modern guitar concert practice "
“这篇文章的重点是在表演、音乐和作曲家对学术吉他音乐的兴趣之间的边界上的有问题的研究领域。在声音制作实验储备中已经确定了现代的增长趋势，这在20世纪初之前的音乐会实践中并不是典型的古典吉他表演笔划已经提出：使用技术性能参数，语音和视觉音效，起源，以及主要的，真实的生活领域。已经追踪到与其他仪器领域类似过程的联系。重点放在了技术和美学方面。研究了声音产生笔划的具体方法、范围变化的音质和声学特性、扩展的视觉噪声音效以及乐谱中的图形图像。通过具体的吉他声音提取方法分析了整整一代实验作曲家的艺术音乐样本，即法国作曲家Maurice Ohana、Roland Dyens、Francis Kleynjans和智利作曲家Juan Antonio Sánchez、Gustavo Becerra Schmidt，他们与音乐作品的内容核心产生了显著的想象力联系和联想。关键词：吉他音乐，声音提取的具体方法，现代吉他音乐会练习”
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Pub Date : 2022-12-20DOI: 10.24193/subbmusica.2022.2.08
Zoltán Gergely
"In the structure of the carols from the Transylvanian Plain has survived an old material of tunes and texts. The origin of some song’s dates back as far as the 16th century, and from that period to the 19th century the set of songs had been enriched with more and more tunes. In the material collected by the author an important style group is the Variants of the songs from the hymnals. The author argues that even if the written or printed forms still have their role in the learning, remembering, and singing of Christmas songs, the learning of new tunes or the passing of the old ones to the new generation happens by the well-known oral tradition and not with the help of music sheets. Keywords: Christmas songs, Transylvanian Plain, oral tradition. "
{"title":"Written Sources in the Repertoire of the Christmas Carols From the Transylvanian Plain","authors":"Zoltán Gergely","doi":"10.24193/subbmusica.2022.2.08","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.08","url":null,"abstract":"\"In the structure of the carols from the Transylvanian Plain has survived an old material of tunes and texts. The origin of some song’s dates back as far as the 16th century, and from that period to the 19th century the set of songs had been enriched with more and more tunes. In the material collected by the author an important style group is the Variants of the songs from the hymnals. The author argues that even if the written or printed forms still have their role in the learning, remembering, and singing of Christmas songs, the learning of new tunes or the passing of the old ones to the new generation happens by the well-known oral tradition and not with the help of music sheets. Keywords: Christmas songs, Transylvanian Plain, oral tradition. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200530","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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