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.spiss2.03
N. Karácsony, M. Rucsanda, Mihaela Buhaiciuc
"As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while the timbre of various instruments proposes the sensuality of the Orient — an accepted Western stereotype regarding the East. To identify certain rhythmic formulae of Indian inspiration and to understand the concept of tāla, several studies and works of Indian musicians and authors have been consulted, among these Sãrngadeva’s Sangītaratnākara, a thirteenth century treatise considered one of the most important Indian musicological texts. Whether invented or extracted directly from its original source, the article aims to identify composers’ rhythmic gestures. The blend of personal musical language with the Indian tinta reflected in rhythmic patterns create a romantic texture cognoscible to the discussed French exotic operas: David’s opéra-comique Lalla-Roukh, Bizet’s Les Pecheurs de perles, Delibes’ Lakmé, Massenet’s five-act grand-opéra Le Roi du Lahore, and Roussel’s opéra-ballet Padmâvatî. Keywords: Hindu rhythm, ethnomusicology, French opera, orientalism, Indian tinta, timbre "
作为一项更大的研究的一部分，该研究压缩了三个层面的分析——戏剧、视觉和音乐——本文探讨了1862-1923这半个世纪时间框架内法国歌剧音乐现象的节奏成分。东方主义和异国情调在F.大卫、G.比才、L.迪利布、J.马塞内和A.鲁塞尔的歌剧中通过旋律、节奏、音色和歌词表现出来。在之前的研究中讨论过的旋律维度，可能比歌剧中的节奏和韵律提供了更多的机会来唤起所谓的东方声音，而各种乐器的音色则提出了东方的性感-这是西方对东方的公认刻板印象。为了确定印度灵感的某些节奏公式并理解tāla的概念，我们参考了印度音乐家和作家的一些研究和作品，其中包括伦迦德瓦的Sangītaratnākara，这是一部13世纪的论文，被认为是最重要的印度音乐学文本之一。无论是发明还是直接从其原始来源中提取，本文旨在识别作曲家的节奏手势。他将个人音乐语言与印度音乐结合在一起，在节奏模式上反映出浪漫的质感，这与讨论过的法国异域歌剧颇为相似:大卫的歌剧《Lalla-Roukh》、比才的《Les Pecheurs de perles》、迪利布的《lakm》、马塞内的五幕大歌剧《Le Roi du Lahore》和鲁塞尔的歌剧《opsamra -ballet Padmâvatî》。关键词:印度节奏，民族音乐学，法国歌剧，东方主义，印度音色
{"title":"Indian Rhythmic Gesture and Tinta in French Operas of the Second Half of the 19th Century and Early 20th Century","authors":"N. Karácsony, M. Rucsanda, Mihaela Buhaiciuc","doi":"10.24193/subbmusica.2022.spiss2.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.03","url":null,"abstract":"\"As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while the timbre of various instruments proposes the sensuality of the Orient — an accepted Western stereotype regarding the East. To identify certain rhythmic formulae of Indian inspiration and to understand the concept of tāla, several studies and works of Indian musicians and authors have been consulted, among these Sãrngadeva’s Sangītaratnākara, a thirteenth century treatise considered one of the most important Indian musicological texts. Whether invented or extracted directly from its original source, the article aims to identify composers’ rhythmic gestures. The blend of personal musical language with the Indian tinta reflected in rhythmic patterns create a romantic texture cognoscible to the discussed French exotic operas: David’s opéra-comique Lalla-Roukh, Bizet’s Les Pecheurs de perles, Delibes’ Lakmé, Massenet’s five-act grand-opéra Le Roi du Lahore, and Roussel’s opéra-ballet Padmâvatî. Keywords: Hindu rhythm, ethnomusicology, French opera, orientalism, Indian tinta, timbre \"","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":"69202477","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.2022.2.08
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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