The beginnings of scientific research in this field date back to the 16th century, when the first treatise on the subject was published. At the beginning of said century, the ancestor of string instruments - the fiddle - was gradually replaced by the lyre, an instrument developed in the first and kept in use until the middle of the following century. The Italian schools of luthiers, through members of the famous Amati, Guarneri and Stradivarius families, made an essential contribution to the present form of string instruments. The cello is considered to be the lowest sounding instrument of the violin family, its Italian name “violoncello” including both the superlative suffix“-one”, and the diminutive “ello” – “a big little violin” in translation. The term “violoncello” was used more often in publications of the late 17th century, although the earlier term “violone” persisted until the end of the following century. The basic, Stradivarius-standardized form of the cello was very little changed in the 19th century. Cello manufacture continued to be based on Italian models, particularly Stradivarius Type B. The question “Quo vadis the performance and composition dedicated to it?” is a recurring one in this century, marked by the rapid pace at wich all aspects of social, cultural and artistic life evolve. It is with joy, pride and hope that we can answer that the future of the cello and of violin performance is in good hands, both nationally and internationally, as long as musical art endures...
{"title":"Dynasty and Alchemy or a Brief Foray into the Evolution of the Cello","authors":"FILIP CRISTIAN PAPA","doi":"10.35218/ajm-2023-0012","DOIUrl":"https://doi.org/10.35218/ajm-2023-0012","url":null,"abstract":"The beginnings of scientific research in this field date back to the 16th century, when the first treatise on the subject was published. At the beginning of said century, the ancestor of string instruments - the fiddle - was gradually replaced by the lyre, an instrument developed in the first and kept in use until the middle of the following century. The Italian schools of luthiers, through members of the famous Amati, Guarneri and Stradivarius families, made an essential contribution to the present form of string instruments. The cello is considered to be the lowest sounding instrument of the violin family, its Italian name “violoncello” including both the superlative suffix“-one”, and the diminutive “ello” – “a big little violin” in translation. The term “violoncello” was used more often in publications of the late 17th century, although the earlier term “violone” persisted until the end of the following century. The basic, Stradivarius-standardized form of the cello was very little changed in the 19th century. Cello manufacture continued to be based on Italian models, particularly Stradivarius Type B. The question “Quo vadis the performance and composition dedicated to it?” is a recurring one in this century, marked by the rapid pace at wich all aspects of social, cultural and artistic life evolve. It is with joy, pride and hope that we can answer that the future of the cello and of violin performance is in good hands, both nationally and internationally, as long as musical art endures...","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135803055","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}
Oleg Garaz is a prominent figure of Romanian culture, not only as a well-known and appreciated musicologist, respected in the academic community and by the general public alike, being a member of the Romanian Union of Composers and Musicologists since 1998, but also as a prose writer, essayist in the field of literature, awarded twice by the Romanian Writers Union, Cluj subsidiary, in 2004 and 2007. [...]
{"title":"Uneltele Muzicologiei (Epistemologica) [The Tools of Musicology (Epistemologica)]1 by Oleg Garaz or the Theory of Everything in Musicology","authors":"MIHAELA-GEORGIANA BALAN","doi":"10.35218/ajm-2023-0016","DOIUrl":"https://doi.org/10.35218/ajm-2023-0016","url":null,"abstract":"Oleg Garaz is a prominent figure of Romanian culture, not only as a well-known and appreciated musicologist, respected in the academic community and by the general public alike, being a member of the Romanian Union of Composers and Musicologists since 1998, but also as a prose writer, essayist in the field of literature, awarded twice by the Romanian Writers Union, Cluj subsidiary, in 2004 and 2007. [...]","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135803053","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}
The silhouettes in movement of the twenty-two Romanian composers, selected by the author from all the generations after 1960, were profiled in time as a consequence of repeated artistic perceptions and sensible human contacts; but especially in virtue of a unique skill of penetrating reflection doubled by a passion for relevant, singular literary expression. [...]
{"title":"Dan Dediu Siluete în mișcare. Eseuri despre compozitori români [Silhouettes in movement. Essays about Romanian composers]","authors":"LAURA-OTILIA VASILIU","doi":"10.35218/ajm-2023-0015","DOIUrl":"https://doi.org/10.35218/ajm-2023-0015","url":null,"abstract":"The silhouettes in movement of the twenty-two Romanian composers, selected by the author from all the generations after 1960, were profiled in time as a consequence of repeated artistic perceptions and sensible human contacts; but especially in virtue of a unique skill of penetrating reflection doubled by a passion for relevant, singular literary expression. [...]","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135800375","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}
Born on Moldavian soil, on January 28, 1931, in Bacău, the composer Felicia Donceanu completed her musical studies at the “Ciprian Porumbescu” Conservatory in Bucharest, under the high supervision of some already established personalities of Romanian music. She composed for various genres, from instrumental theater, children's music, to chamber music, stage music, vocal-symphonic, choral, thus exhibiting, with exquisite skill, her mastery of laying down the notes on the musical scale. With a special love for Romanian poetry and literature and beyond, Felicia Donceanu dipped her writing pen in ink to give voice to her music and through the power of her own words. Authentically feeling this vein of poetic art, she also stood out with texts dedicated to various choral works of Romanian composers. She wrote scripts for various musical-choreographic performances, or radio dedicated, and with her painting talent she gave life to illustrations in children's books. As for the admiration that Felicia Donceanu gives to the distinguished man of culture, George Călinescu, it is drawn in two directions, holding a profound respect for the originality of the personality and the works of this illustrious representative of Romanian culture and literature, who ravished souls and became a source of inspiration, both for the young students of the Faculty of Letters and for people of culture in general. It is not surprising that Felicia Donceanu found in the creation of the poet George Călinescu a never-ending source of inspiration. In 1964, the cycle Three songs for Til was born, including the lieds: The Steps, The Leaf and The Living Water. It is based on the love poem structured and rendered in three different forms from a poetic and compositional point of view. Felicia Donceanu thought of the three lieds, in a “suite in pre-classical style: gavotte (The Steps), saraband (The Leaf) and courant (The Living Water)... each of them being doubled by meanings close to popular creation... in the first one, the game..., in the second one, the romance (with depressive, chromatic accents) and in the third one, the enchantment” (Constantinescu, 1966, p. 24). The musical interpretation of the poems is not a simple metaphorical game, the musical character of the poems, in general - far from being just an ornament - being part of the act of creation necessary for a fair reception, because it is created in a certain mood and a special tension of tone, and the reader or listener will have to perceive it in the same tension and texture. The quality of the sound, the form and the point of crystallization of the feeling make up an act of creation and not a borrowing, made by the poet or performer, from life. Poetry is the intimate form of creation, the acquired vocal timbre that identifies itself entirely with the musicality of the content.
1931年1月28日，费利西亚·东切亚努出生于摩尔多瓦的巴克恰乌，在布加勒斯特的“Ciprian Porumbescu”音乐学院完成了她的音乐学习，在一些已经建立的罗马尼亚音乐名人的高度监督下。她创作了各种类型的作品，从器乐戏剧，儿童音乐，室内乐，舞台音乐，人声交响乐，合唱，从而以精湛的技巧展示了她对音乐音阶音符的掌握。对罗马尼亚诗歌和文学有着特殊热爱的Felicia Donceanu，把她的笔浸在墨水里，用她自己的语言的力量来表达她的音乐。她真切地感受到了这种诗意艺术的脉络，她也在罗马尼亚作曲家的各种合唱作品中脱颖而出。她为各种音乐舞蹈表演或广播节目写剧本，并用她的绘画天赋为儿童书籍中的插图赋予了生命。至于Felicia Donceanu对杰出的文化人George ccillinescu的钦佩，从两个方面来看，对这位罗马尼亚文化和文学的杰出代表的个性和作品的独创性深表敬意，他吸引了灵魂，成为文学学院年轻学生和一般文化人的灵感来源。毫不奇怪，费利西亚·唐切亚努从诗人乔治·克林内斯库的创作中找到了源源不断的灵感来源。1964年，“为蒂尔唱的三首歌”(Three songs for Til)专辑诞生，其中包括歌曲《台阶》、《树叶》和《活水》。它以情诗为基础，从诗歌和构图的角度出发，以三种不同的形式构成和呈现。费利西亚·唐切努(Felicia Donceanu)在“前古典风格的套间里想到了三个故事:《台阶》(gavotte)、《树叶》(saraband)和《活水》(courant)……它们每一个都被意义翻倍，接近大众创造……在第一个例子中，游戏……第二首是浪漫(带有压抑的半音重音)，第三首是迷人”(Constantinescu, 1966, p. 24)。诗歌的音乐诠释不是一个简单的隐喻游戏，诗歌的音乐特征，总的来说，远不只是一种装饰，而是创造行为的一部分，这是公平接受所必需的，因为它是在一种特定的情绪和一种特殊的音调张力下创作的，读者或听者必须以同样的张力和纹理来感知它。声音的性质、形式和情感的结晶点构成了一种创造行为，而不是诗人或表演者从生活中借用的东西。诗歌是创作的亲密形式，是后天习得的音色，它与内容的音乐性完全一致。
{"title":"Felicia Donceanu – The cycle of lieds Three songs for Til on lyrics by George Călinescu","authors":"ELIZA-PARASCHIVA IRINA SOLOMON","doi":"10.35218/ajm-2023-0014","DOIUrl":"https://doi.org/10.35218/ajm-2023-0014","url":null,"abstract":"Born on Moldavian soil, on January 28, 1931, in Bacău, the composer Felicia Donceanu completed her musical studies at the “Ciprian Porumbescu” Conservatory in Bucharest, under the high supervision of some already established personalities of Romanian music. She composed for various genres, from instrumental theater, children's music, to chamber music, stage music, vocal-symphonic, choral, thus exhibiting, with exquisite skill, her mastery of laying down the notes on the musical scale. With a special love for Romanian poetry and literature and beyond, Felicia Donceanu dipped her writing pen in ink to give voice to her music and through the power of her own words. Authentically feeling this vein of poetic art, she also stood out with texts dedicated to various choral works of Romanian composers. She wrote scripts for various musical-choreographic performances, or radio dedicated, and with her painting talent she gave life to illustrations in children's books. As for the admiration that Felicia Donceanu gives to the distinguished man of culture, George Călinescu, it is drawn in two directions, holding a profound respect for the originality of the personality and the works of this illustrious representative of Romanian culture and literature, who ravished souls and became a source of inspiration, both for the young students of the Faculty of Letters and for people of culture in general. It is not surprising that Felicia Donceanu found in the creation of the poet George Călinescu a never-ending source of inspiration. In 1964, the cycle Three songs for Til was born, including the lieds: The Steps, The Leaf and The Living Water. It is based on the love poem structured and rendered in three different forms from a poetic and compositional point of view. Felicia Donceanu thought of the three lieds, in a “suite in pre-classical style: gavotte (The Steps), saraband (The Leaf) and courant (The Living Water)... each of them being doubled by meanings close to popular creation... in the first one, the game..., in the second one, the romance (with depressive, chromatic accents) and in the third one, the enchantment” (Constantinescu, 1966, p. 24). The musical interpretation of the poems is not a simple metaphorical game, the musical character of the poems, in general - far from being just an ornament - being part of the act of creation necessary for a fair reception, because it is created in a certain mood and a special tension of tone, and the reader or listener will have to perceive it in the same tension and texture. The quality of the sound, the form and the point of crystallization of the feeling make up an act of creation and not a borrowing, made by the poet or performer, from life. Poetry is the intimate form of creation, the acquired vocal timbre that identifies itself entirely with the musicality of the content.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135803056","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 : 2023-05-08DOI: 10.30965/27727629-20230003
I. Scheitler
At the turn of the year 1623/24, Martin Opitz published the Song of praise about the joyous birthday of our Lord and Saviour Jesus Christ in German Alexandrine verse. Being a gift for the New Year the work combines high erudition with a very personal stance. The poem concludes with a Latin Sapphic ode which derives its full meaning from the intended well-known melody. Amazingly many poets copied Opitz in writing epic-dramatic poems including song(s) as New Year’s dedication; they imitated his motifs and even his title by way of aemulatio. When Opitz’ tendency towards dramatic representation and visualisation is enhanced, the work comes close to another musical epic-dramatic genre, the actus. We encounter this in several academic communities, its finest example being a musical composition by Johann Rosenmüller to words by Johann Ziegler.
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Pub Date : 2023-05-08DOI: 10.30965/27727629-20230005
Peter Bexte
The notion of composition has been highly important in 17th century tracts on fine arts. Inspired by these discussions the article looks at Joachim von Sandrart’s monumental publication Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste. It presents an ever-amazing quantity of contemporary knowledge and has often been described as a compilation, lacking theoretical power. In contrast, the following essay argues that it may open new perspectives to observe practices of composing, especially regarding the images. There is a harmonizing tendency in the idea of composing – the expression bellum componere means: ending the war. And this touches on a central issue in Sandrart’s overall undertaking.
{"title":"Composuit Zeuxis / Composuit Sandrart","authors":"Peter Bexte","doi":"10.30965/27727629-20230005","DOIUrl":"https://doi.org/10.30965/27727629-20230005","url":null,"abstract":"\u0000The notion of composition has been highly important in 17th century tracts on fine arts. Inspired by these discussions the article looks at Joachim von Sandrart’s monumental publication Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste. It presents an ever-amazing quantity of contemporary knowledge and has often been described as a compilation, lacking theoretical power. In contrast, the following essay argues that it may open new perspectives to observe practices of composing, especially regarding the images. There is a harmonizing tendency in the idea of composing – the expression bellum componere means: ending the war. And this touches on a central issue in Sandrart’s overall undertaking.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85503091","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 : 2023-05-08DOI: 10.30965/27727629-20230007
Oliver Grütter
This essay focuses on Friedrich Hölderlin’s elegy Achill (c.1799), one of the earliest texts in which the author reacts to the separation from Susette Gontard. While previous works have emphasised the reference of this elegy to Hölderlin’s translation from Homer’s Iliad, it has been overlooked that the lamenting Achill is based on elegiac models of Latin literature (Propertius, Ovid), which Hölderlin was familiar with partly from school and partly from journals. By tracing the conception of an elegiac Achilles, the article sheds light on Latin substrates in Hölderlin’s poetry.
{"title":"Der klagende Achill","authors":"Oliver Grütter","doi":"10.30965/27727629-20230007","DOIUrl":"https://doi.org/10.30965/27727629-20230007","url":null,"abstract":"\u0000This essay focuses on Friedrich Hölderlin’s elegy Achill (c.1799), one of the earliest texts in which the author reacts to the separation from Susette Gontard. While previous works have emphasised the reference of this elegy to Hölderlin’s translation from Homer’s Iliad, it has been overlooked that the lamenting Achill is based on elegiac models of Latin literature (Propertius, Ovid), which Hölderlin was familiar with partly from school and partly from journals. By tracing the conception of an elegiac Achilles, the article sheds light on Latin substrates in Hölderlin’s poetry.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75367225","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 : 2023-05-08DOI: 10.30965/27727629-20230001
S. Friede
Lamentation is of utmost importance for the elegy as well as for an elegiac ‘tonality’ in poetry. A closer look at Louise Labé’s three elegies shows, however, that it is the technology of self-lamentation through which the suffering of the lyric Self, that is thematized in the elegies, is expressed in a particular way. Thereby, self-lamentation has different functions – to find comfort, to preserve the memory of the bemoaned and to receive glory through the affect-regulating, self-consolatory expression of suffering that is conveyed by the afflicted voice of the lyric Self. The specific expressivity of the (self-)lamentation excites compassion in the female-coded Model Reader and evokes practices of a compassionate community that is constituted in the extratextual realm. The asymmetrical compassion-relation overlaps also with the Petrarchist discourse. Labé’s elegies create a temporal and emotional continuum of the compassion function that extends from deplorable historical-mythological heroines over the lyric Self to the potentially lamentable group of the Dames Lionnoises and the Model Reader.
{"title":"Technik der (Selbst-)Klage und Funktionen des Mitleids in den Elegien der Louise Labé","authors":"S. Friede","doi":"10.30965/27727629-20230001","DOIUrl":"https://doi.org/10.30965/27727629-20230001","url":null,"abstract":"\u0000Lamentation is of utmost importance for the elegy as well as for an elegiac ‘tonality’ in poetry. A closer look at Louise Labé’s three elegies shows, however, that it is the technology of self-lamentation through which the suffering of the lyric Self, that is thematized in the elegies, is expressed in a particular way. Thereby, self-lamentation has different functions – to find comfort, to preserve the memory of the bemoaned and to receive glory through the affect-regulating, self-consolatory expression of suffering that is conveyed by the afflicted voice of the lyric Self. The specific expressivity of the (self-)lamentation excites compassion in the female-coded Model Reader and evokes practices of a compassionate community that is constituted in the extratextual realm. The asymmetrical compassion-relation overlaps also with the Petrarchist discourse. Labé’s elegies create a temporal and emotional continuum of the compassion function that extends from deplorable historical-mythological heroines over the lyric Self to the potentially lamentable group of the Dames Lionnoises and the Model Reader.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"312 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76640055","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 : 2023-05-08DOI: 10.30965/27727629-20230002
Anna Pawlak
In 1637 Claude Lorrain made a series of etchings in which he depicted the elaborate fireworks organized by the Spanish ambassador in Rome in occasion of the election of Ferdinand III as King of the Romans. This article deals with the political and religious dimensions of the performative act as well as the complex aesthetic strategies of transferring the ephemeral event into the more lasting medium of print. Considering the Thirty Years’ War, Lorraine’s ‚explosive‘ prints functioned, I argue, as artistic devices to control the forces of fiery destruction, a crucial issue for the princely representation of Habsburg dignity, and to demonstrate the artist’s virtuosity and eruptive innovation.
{"title":"Das Feuerwerk der Linie","authors":"Anna Pawlak","doi":"10.30965/27727629-20230002","DOIUrl":"https://doi.org/10.30965/27727629-20230002","url":null,"abstract":"\u0000In 1637 Claude Lorrain made a series of etchings in which he depicted the elaborate fireworks organized by the Spanish ambassador in Rome in occasion of the election of Ferdinand III as King of the Romans. This article deals with the political and religious dimensions of the performative act as well as the complex aesthetic strategies of transferring the ephemeral event into the more lasting medium of print. Considering the Thirty Years’ War, Lorraine’s ‚explosive‘ prints functioned, I argue, as artistic devices to control the forces of fiery destruction, a crucial issue for the princely representation of Habsburg dignity, and to demonstrate the artist’s virtuosity and eruptive innovation.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87072823","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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