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.2022.2.09
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.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.2022.2.05
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.spiss2.09
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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：