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”
{"title":"Specific Sound Production Techniques in Academic Guitar Music","authors":"Tymur Ivannikov, T. Filatova","doi":"10.24193/subbmusica.2022.spiss2.08","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.08","url":null,"abstract":"\"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 \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49155854","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.2022.2.09
A. Stan
"The religious carol or with scholarly influence is a musical typological category that is less addressed in the specialized music literature, especially entering the area of interest of religious music. Due to this provenance and a relatively recent evolution in time (only a few hundred years), we find a distinct melodicity compared to the authentic Romanian carol. Melodic variants identified mainly in the Land of the Foresters, Hunedoara, circulate in southern Transylvania on religious carol texts, being collected in the field more than 100 years ago (Bartók, 1913). By the number of variations, we realize that it is a very beloved song, easy to remember, which closes the cycle of the Winter Holidays (Epiphany). The present research aims to identify the melodic variants of this scholarly carol, as well as, most importantly, its spread within other folk genres: old-style songs and dance songs. Keywords: Land of the Foresters, Hunedoara, scholarly carol "
{"title":"\"The Circulation of a Melodic Type of Scholarly Carol From the Land of the Foresters, Hunedoara \"","authors":"A. Stan","doi":"10.24193/subbmusica.2022.2.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.09","url":null,"abstract":"\"The religious carol or with scholarly influence is a musical typological category that is less addressed in the specialized music literature, especially entering the area of interest of religious music. Due to this provenance and a relatively recent evolution in time (only a few hundred years), we find a distinct melodicity compared to the authentic Romanian carol. Melodic variants identified mainly in the Land of the Foresters, Hunedoara, circulate in southern Transylvania on religious carol texts, being collected in the field more than 100 years ago (Bartók, 1913). By the number of variations, we realize that it is a very beloved song, easy to remember, which closes the cycle of the Winter Holidays (Epiphany). The present research aims to identify the melodic variants of this scholarly carol, as well as, most importantly, its spread within other folk genres: old-style songs and dance songs. Keywords: Land of the Foresters, Hunedoara, scholarly carol \"","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":"69200570","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.2022.2.10
Noémi Miklós
"The following study is the second chapter of a series, which is intended to shed light on the development of the Transylvanian organ landscape throughout the centuries. It offers information regarding the organs and organ builders of the early romantic period up to the turn of the 20th century, when pneumatic and electro pneumatic organs have started to take over. Keywords: Transylvania, organ, romantic period, organ builders, stops, restoration. "
{"title":"\"Organs in Transylvania – Part 2. Transylvanian Organs During the 19th Century \"","authors":"Noémi Miklós","doi":"10.24193/subbmusica.2022.2.10","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.10","url":null,"abstract":"\"The following study is the second chapter of a series, which is intended to shed light on the development of the Transylvanian organ landscape throughout the centuries. It offers information regarding the organs and organ builders of the early romantic period up to the turn of the 20th century, when pneumatic and electro pneumatic organs have started to take over. Keywords: Transylvania, organ, romantic period, organ builders, stops, restoration. \"","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":"69200949","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.2022.2.05
O. Ponomarenko
"This study analyses one of the complex problems of modern artistic discourse – the functioning of a music festival as a special form of intercultural dialogue and its integration into a modern cultural medium. The article reveals the issues of the relationship of its components, such as the conditions for the implementation of intercultural communication in the context of a music festival; the morphological space of the multi-layer score of this artistic phenomenon; forms of intercultural communication, and sociocultural constraints associated with the Covid-19 pandemic. The purpose of this study was to analyze the music festival as one of the forms of polyculture dialogue and its functioning in the new realities of the Covid-19 pandemic. In this regard, both theoretical (semantic analysis) and practical (comparative analysis) research methods were used. As a result of the study, it was proven that a music festival as one of the forms of intercultural dialogue allows realizing different semantic levels of culture, enriches spirituality, and contributes to the consolidation of representatives of different cultures, leading to a constructive solution of the problems of artistic discourse; it was revealed that during the Covid-19 pandemic, not all genre and stylistic forms could be realized, due to the difficult situation of socio-cultural isolation; a classification of new formats for holding music festivals was proposed, which take into account the current conditions for its functioning in the context of the Covid-19 pandemic. The practical significance of this study is that its results can be used for further analysis of the mechanisms of functioning and broadcasting of a polyphonically complex score of a music festival. Keywords: music festival, the musical life of modern Italy, artistic dialogue, interaction, multi-layered score of a creative project, multicultural space "
{"title":"Music Festivals in Modern Italy During the Covid-19 Pandemic","authors":"O. Ponomarenko","doi":"10.24193/subbmusica.2022.2.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.05","url":null,"abstract":"\"This study analyses one of the complex problems of modern artistic discourse – the functioning of a music festival as a special form of intercultural dialogue and its integration into a modern cultural medium. The article reveals the issues of the relationship of its components, such as the conditions for the implementation of intercultural communication in the context of a music festival; the morphological space of the multi-layer score of this artistic phenomenon; forms of intercultural communication, and sociocultural constraints associated with the Covid-19 pandemic. The purpose of this study was to analyze the music festival as one of the forms of polyculture dialogue and its functioning in the new realities of the Covid-19 pandemic. In this regard, both theoretical (semantic analysis) and practical (comparative analysis) research methods were used. As a result of the study, it was proven that a music festival as one of the forms of intercultural dialogue allows realizing different semantic levels of culture, enriches spirituality, and contributes to the consolidation of representatives of different cultures, leading to a constructive solution of the problems of artistic discourse; it was revealed that during the Covid-19 pandemic, not all genre and stylistic forms could be realized, due to the difficult situation of socio-cultural isolation; a classification of new formats for holding music festivals was proposed, which take into account the current conditions for its functioning in the context of the Covid-19 pandemic. The practical significance of this study is that its results can be used for further analysis of the mechanisms of functioning and broadcasting of a polyphonically complex score of a music festival. Keywords: music festival, the musical life of modern Italy, artistic dialogue, interaction, multi-layered score of a creative project, multicultural space \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47412638","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.spiss2.11
Krisztina Várady
"The main goal of the article is to examine the constraints and freedom of the composer while using exclusively the notes of the pentatonic scale. For this purpose, we present Kodály’s two piano cycles written on the black keys from different perspectives. In connection with the cycle 24 Little Canons on the Black Keys the use of one-line letter notation pieces in solfege lessons will be introduced. From the other cycle, Children’s Dances, we analyze pieces in which elements from Hungarian folk music or verbunkos can be detected. Keywords: Kodály method, pentatonic scale, piano pieces, Hungarian folk music "
{"title":"Constraint and Freedom. Kodály: Children’s Dances and 24 Little Canons on the Black Keys","authors":"Krisztina Várady","doi":"10.24193/subbmusica.2022.spiss2.11","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.11","url":null,"abstract":"\"The main goal of the article is to examine the constraints and freedom of the composer while using exclusively the notes of the pentatonic scale. For this purpose, we present Kodály’s two piano cycles written on the black keys from different perspectives. In connection with the cycle 24 Little Canons on the Black Keys the use of one-line letter notation pieces in solfege lessons will be introduced. From the other cycle, Children’s Dances, we analyze pieces in which elements from Hungarian folk music or verbunkos can be detected. Keywords: Kodály method, pentatonic scale, piano pieces, Hungarian folk music \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48251091","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.spiss2.09
Anda Olimpia Pop, I. Filip
"This article is addressed to pedagogues, students, and professional singers and draws attention to the tight connection between the functionality of the larynx and the cybernetic circuits of the ear. During the training periods of a singer, and then throughout one’s career, we deal with sound intonation flaws very many times. These are due not only to a flawed vocal technique or amusia , but also to flaws of audio-vocal feedback circuits many times. If they are discovered and corrected, the voice can be completely regained. It is very important to be aware of the difference between hearing and listening, dealing with the listening posture when singing and the medical check of a specialized doctor in hearing impairment. Keywords: voice, singer, connection between ear and voice, cybernetic circuits, audio-vocal feedback, control loop. "
{"title":"The Connection Between a Professional Singer’s Intonation and the Coordination of the Cybernetic Circuits of the Ear","authors":"Anda Olimpia Pop, I. Filip","doi":"10.24193/subbmusica.2022.spiss2.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.09","url":null,"abstract":"\"This article is addressed to pedagogues, students, and professional singers and draws attention to the tight connection between the functionality of the larynx and the cybernetic circuits of the ear. During the training periods of a singer, and then throughout one’s career, we deal with sound intonation flaws very many times. These are due not only to a flawed vocal technique or amusia , but also to flaws of audio-vocal feedback circuits many times. If they are discovered and corrected, the voice can be completely regained. It is very important to be aware of the difference between hearing and listening, dealing with the listening posture when singing and the medical check of a specialized doctor in hearing impairment. Keywords: voice, singer, connection between ear and voice, cybernetic circuits, audio-vocal feedback, control loop. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47827608","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.2022.2.04
Ecaterina Banciu
"The author does not intend to write a booklet about the Symphony No. 3 “Ovid” (1957) by Sigismund Toduță, but rather to complete the missing pieces of its history. Still in 2004, the manuscript of the symphony’s finale was still missing. With its discovery in 2013, research confirmed its uniqueness and originality. Now, in 2022, at the 30th anniversary of the establishment of the Toduță Foundation, we reveal those derogatory remarks that led to the ‘amputated’ publication of the Passacaglia followed by the symphony’s fade into oblivion. All began with a young university assistant from Bucharest who addressed a letter to the only Romanian citizen with a PhD in music (Rome, 1933), the nationally and internationally recognized composer, awarded by George Enescu himself. How did this 28 years old juvenile dare to write to the 51 years old master in such a defamatory tone? If it was part of a political task, whom did it serve? Who had anything to gain by removing from the Romanian musical heritage this remarkable work, composed on the two-millennium anniversary of Ovid’s birth - the adored but banished poet? Would it be fair to respect the composer’s wish and forget this troublesome Passacaglia? Wouldn’t it be a mistake against the creation itself, which once born, deserves publicity? With these questions this paper reconstructs the events, still leaving in the twilight the truth behind the faces of Ovid. Keywords: originality, paraphrase, pastiche, restorations, rehabilitations, re-editing "
{"title":"An Evil Letter, and the Destinies of the Forgotten Passacaglia. The Twilight of the Third Symphony “Ovid” by Sigismund Toduță","authors":"Ecaterina Banciu","doi":"10.24193/subbmusica.2022.2.04","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.04","url":null,"abstract":"\"The author does not intend to write a booklet about the Symphony No. 3 “Ovid” (1957) by Sigismund Toduță, but rather to complete the missing pieces of its history. Still in 2004, the manuscript of the symphony’s finale was still missing. With its discovery in 2013, research confirmed its uniqueness and originality. Now, in 2022, at the 30th anniversary of the establishment of the Toduță Foundation, we reveal those derogatory remarks that led to the ‘amputated’ publication of the Passacaglia followed by the symphony’s fade into oblivion. All began with a young university assistant from Bucharest who addressed a letter to the only Romanian citizen with a PhD in music (Rome, 1933), the nationally and internationally recognized composer, awarded by George Enescu himself. How did this 28 years old juvenile dare to write to the 51 years old master in such a defamatory tone? If it was part of a political task, whom did it serve? Who had anything to gain by removing from the Romanian musical heritage this remarkable work, composed on the two-millennium anniversary of Ovid’s birth - the adored but banished poet? Would it be fair to respect the composer’s wish and forget this troublesome Passacaglia? Wouldn’t it be a mistake against the creation itself, which once born, deserves publicity? With these questions this paper reconstructs the events, still leaving in the twilight the truth behind the faces of Ovid. Keywords: originality, paraphrase, pastiche, restorations, rehabilitations, re-editing \"","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":"69200520","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.2022.2.07
Iryna Tukova, Valentina Redya, Iryna Kokhanyk
"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
{"title":"Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)","authors":"Iryna Tukova, Valentina Redya, Iryna Kokhanyk","doi":"10.24193/subbmusica.2022.2.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.2.07","url":null,"abstract":"\"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200525","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.spiss2.02
Oleg Bezborodko
" “Two Poem Classics of the Tang Dynasty” by Xu Zhenmin is a bright example of the Chinese national piano style. We analyze its main features using S. Tyshko’s theory of national style and the concept of the sound image of the instrument by L. Gakkel as the theoretical and methodological basis of our research. We introduce and define the concept of the national sound image of the instrument. Chinese piano music is characterized by the purposeful activity of composers both in stylistic adaptation and in stylistic generation. The European historical and stylistic sound images of the piano are adapted and act as the “foreign” material. The “native” material is generated both from folk and traditional Chinese music, its mode, intonation, and instrumental specifics, as well as from the rich artistic, philosophical and historical heritage of China. Keywords: National music style, piano music, Chinese piano music, Chinese national piano style, sound image of the instrument, Chinese national sound image of the piano "
{"title":"Chinese National Piano Style in “Two Poem Classics of The Tang Dynasty” by Xu Zhenmin","authors":"Oleg Bezborodko","doi":"10.24193/subbmusica.2022.spiss2.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.02","url":null,"abstract":"\" “Two Poem Classics of the Tang Dynasty” by Xu Zhenmin is a bright example of the Chinese national piano style. We analyze its main features using S. Tyshko’s theory of national style and the concept of the sound image of the instrument by L. Gakkel as the theoretical and methodological basis of our research. We introduce and define the concept of the national sound image of the instrument. Chinese piano music is characterized by the purposeful activity of composers both in stylistic adaptation and in stylistic generation. The European historical and stylistic sound images of the piano are adapted and act as the “foreign” material. The “native” material is generated both from folk and traditional Chinese music, its mode, intonation, and instrumental specifics, as well as from the rich artistic, philosophical and historical heritage of China. Keywords: National music style, piano music, Chinese piano music, Chinese national piano style, sound image of the instrument, Chinese national sound image of the piano \"","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":"69202421","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.spiss2.12
G. Coca
"Zoltán Kodály has composed two choral works to the poems of Ferenc Kölcsey: Huszt and Bordal. Both were composed for male choir. Bordal was composed between 1913 and 1917, followed by Kodály’s Huszt in 1936. In this paper I will present an analysis of the Huszt choral work. Keywords: Zoltán Kodály, Huszt, male choir, Kölcsey Ferenc, harmony, musical forms "
Zoltán Kodály为费伦茨的诗歌创作了两首合唱作品Kölcsey:赫斯特和波达尔。这两首歌都是为男声合唱团创作的。《波达尔》创作于1913年至1917年之间，随后是1936年Kodály的《赫斯特》。在本文中，我将对赫斯特的合唱作品进行分析。关键词:Zoltán Kodály，胡斯特，男声合唱团，Kölcsey费伦茨，和声，音乐形式
{"title":"\"Zoltán Kodály: Huszt – A Choral Work Composed on a Poem by Ferenc Kölcsey \"","authors":"G. Coca","doi":"10.24193/subbmusica.2022.spiss2.12","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss2.12","url":null,"abstract":"\"Zoltán Kodály has composed two choral works to the poems of Ferenc Kölcsey: Huszt and Bordal. Both were composed for male choir. Bordal was composed between 1913 and 1917, followed by Kodály’s Huszt in 1936. In this paper I will present an analysis of the Huszt choral work. Keywords: Zoltán Kodály, Huszt, male choir, Kölcsey Ferenc, harmony, musical forms \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"134 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69203543","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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