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When choosing the theme of my research, I was guided by the desire to get to know and investigate the organ, as a musical instrument, and by the affection and love for my homeland. I thought that I would choose a theme and a searching area, that has been infolded only in the slightest extent, and which constitutes an important piece of the history of Erdővidék and of the reformed diocese from Erdővidék. Many researchers surveyed the organs of Transylvania , among others Dávid István published his results too. With my work I would like to complete this research of great dimensions, especially the part referring to the reformed churches from Erdővidék, and to correct the occurent false informations, and confirm them with authentic data.
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The present study follows the new technologies adopted in musical creation and production. We diachronically pursued the first steps of technologies involving electronics in musical processes. We presented examples of devices and inventions with applicability in music, which stood the test of time. The diachronic perspective includes the present and, in the end, we highlighted the main direction of the present time: the virtualization of devices due to computers, hence, the enormous potential, very little exploited, of musical software in musical creation. The second part of the study presents specific examples from the author’s own works presented as case studies where new technologies help and renew musical creation.
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The redaction of the musical magazine STUDIA UBB MUSICA of the series Studia Universitatis Babeş–Bolyai invites you to make an agreement regarding the change of the music magazines between the two institutions. In this respect, the two institutions offer each other a copy of the volumes of the musicology studies that are edited by that institution. These copies are considered to be donations, as they will be registered in the library of the institutions that have this agreement. If our magazine seems interesting to you and you would like to receive a copy of each number please sign/stamp this agreement and send one of the copies of your musical magazine on the address of our redaction.
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Feelings, emotions – musical ones too – are constituted by the simplest elements, which form the basis of psychological phenomena. Their knowledge is indispensable in order to be able to approach the psychology of hearing, of sound and music psychology. The brain research conducted in the second half of the 20th century has demonstrated the fact that the right hemisphere is the one responsible for music: it has the functions of recognizing melody, while the left one to identify rhythm. Music has a particular effect on the aesthetic functions of emotions, polishing, educating and - if need be – healing them. The most important role of music, however, is preventing the possible ailments of our emotional world.
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Who has the right to make the most noise in the world? The churches’ bells in the old times, the loudspeakers in Hitler’s era, planes taking off in the airports, police sirens, rock bands? In a world where background music (muzak) invades all public places, Canadian musicologist and composer Murray Schafer does an analysis of all types of sounds (natural, artificial, from the old days until today) in his book The Tuning of the World and advances a proposal to create sound museums. Wouldn’t it be extraordinary to be able to listen to the sounds surrounding St Sophia’s Church during Byzantine times or ... the forest noises from when dinosaurs roamed the Earth?
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The marionette operas are closely connected with the Esterházy court of the 18th century as well as the work of Joseph Haydn; nevertheless they hold values for the audience of the 21st century as well. This study presents the history of marionette operas in Esterház. The focal point of the essay is an analysis of the functioning of the marionette theatre based on date, authors and works. The increasing numbers of marionette operas staged today in Hungary and the on-going explorations of the marionette theatre in Fertőd confirm the relevance of this matter. Since the genre of marionette opera lacks Hungarian academic literature, English and German publications provide the background for this study; archives, illustrated materials and musical resources of that period are further examined as well. With the use of these materials we can have an insight not only into a marionette theatre which was extraordinary in its age but an exceptional repertoire as well, for accomplished composers of the 18th century had produced works for the marionette theatre of Esterház.
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Since the end of the 18th century so called hymns of repentance formed an outstanding category of hymns. These are sung during the weeks of preparation before the great religious holidays. The past and present of the hymns of repentance in the worship of the Reformed Church of Transylvania has two main sources: the hymnbooks of various churches and the repertory of hymns passed over as an oral tradition. The paper hereby deals primarily with the tunes of the hymns, it analyzes them, it reveals their sources, their versions represented in the hymnbooks of various centuries and how they were altered while passed over in oral tradition.
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Within the extremely eclectic musical manifestations of the 20th century, Alfred Schnittke stands as a key figure, being one of the most influential composers to have linked the past to the present, creating an original sound world, tormented by violent contrasts and conflicts, confusion, nostalgia, irony and parody. His works often look back at the musical tradition, exploring its potential by means of modern compositional techniques and thus giving it a totally new shape and value. Often associated with the postmodern orientation, Alfred Schnittke is the exponent of the complex concept of polystylism, bringing the idea of borrowings of musical material to a superior level. Integrating them into the organic structure of his works and subjecting them to variation up to the loss of their identity, they receive a double significance: on the one hand, they represent testimonies of an ancient world, on the other elements that symbolize the ever changing contemporary musical scenery.
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"A man of short stature, but with tremendous force of communicating by means of sounds; modest, but aware of his own value; secluded and slightly detached from the practical aspects of existence, but proving, in everything connected with the art of sounds, an inexhaustible energy and passion, an amazing capacity of observation and synthesis, unparalleled culture and memory as well as extraordinary precision and exigency. Apparently, Olah led an ordinary life, among us; in fact, music permeated his life as an uninterrupted ostinato, to the point of identification with it, in symbiotic communion. His personality takes prominent shape even from his first works: a strong lyrical nucleus, intense dramatism and contaminating kinetic energy " (Olguţa Lupu - March 2010 ).
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The present study is an analysis of the work entitled Fum (Smoke), for clarinet solo, written by the Romanian composer Doina Rotaru in 1996 and dedicated to the clarinetist Emil Vişenescu. The study enhances the author’s preference for ancient musical archetypes, such as the aulodic timbral archetype, the archetype of suspended time, the archetype of the ornament or that of the glissando. We also highlight the articulation of musical discourse in relation to symbolic structural principles: circular or spiral shapes, sacred numbers. The structural analysis also emphasizes the continuous variation process, starting from a generative motive which includes almost all elements of language the work is based on: Rubato rhythm, chromaticism, Enescu’s “x” cell, glissando and appoggiatura.
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Juggle (2005) for clarinet and piano by Cristian Marina represents the starting point for another of the composer’s works, Intorno (2006) for clarinet, violin and piano. The work was composed especially for and dedicated to the Aperto Trio, obtaining the 1st Prize at the International Aperto Composition Competition, Bucharest, 2006 (president of the jury: the late maestro Ştefan Niculescu). The present study analyses the main musical differences between the versions of the piece, insisting in the beginning of the analysis on the large circulation of this phenomenon (different instrumental versions of the same piece) in international and Romanian musical works of the 20th and 21st centuries.
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The process leading to the crystallization of the piano trio can be traced back to the beginning of the17th century, a time when artists would perform under the patronage of noble families. A change in taste in the mid-18th century based on an appreciation for polyphony eventually determined the elimination of the basso continuo, the particularization of the voices and equalized the importance of the different instruments of the trio. The contributions of J. S. Bach, G. F. Haendel, as well as the French harpsichordists, J. Ph. Rameau and L. G. Guillemain with their accompanied sonatas, J. Haydn and specially W. A. Mozart, introducing the technique of multiple thematic development marked the path of the piano trio becoming a concert genre in its own right.
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In 2008 I published in the review Studia UBB Musica a biographical study, about the composer Ede Terényi. I had the following motto at the beginning of the study: “Had I been running water, / I would not know the trouble; / Among mountains and valleys, / Beautifully, I would flow slowly; / I would wash shores, / I would renew herbs, / To the thirsty birds, / I would offer water.” This is the text of a folk song, which was taken and processed by the composer Ede Terényi, in 1954, as a little choral musical work on three equal voices, a woman (or children) choir, that was inspired by the “Choral Works for Children’s and Female Voices” of Bartók. Retroactive, the composer, considers this little work as his really work op. 1. The present study aims to analyse this little work, which is very close to the composer’s soul.
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I thought a view on music history based on the 30 stages of The Ladder written by Sf. John, exposing the most important musical masterpieces, associated with spiritual values. Through a good spiritual education, through musical values we can achieve the ideal of the true music (not merely aesthetic): the good taste, the authentic feelings, beliefs and attitudes. The ladder of the virtues (Philokalia volume. IX) is one of the most representative and important writings of the Orthodoxy.
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The typical events of a wedding in the Northern-Mezőség are mainly the same as those of the weddings of all the Hungarian population. During each event of the wedding the lyrics of the songs sung during the event express the function of that event. The collection of songs typically sung at the wedding differs from one smaller geographical unit of the Mezőség to the other, sometimes even from village to village. The greatest collection of songs belongs to the village of Szék (Sic). Some of these songs can be found also in the collection of wedding songs of the Romanian population living in the village. Since there has been a collection of data in the course of the last half century, the processing of these data makes it possible to form – parallel to the collection of songs – a reconstructed image of the traditional typical events and customs of the weddings of Mezőség, greatly altered by our days.
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GHIDUL IUBITORILOR DE FOLCLOR (THE GUIDE OF THE FOLKLORE LOVERS), 1/2011, PUBLISHING BY ED. LIDANA, SUCEAVA (ISSN: 2284-5593).
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