![Клавирното ядро и музикалната речевост у Лазар Николов](/api/image/getissuecoverimage?id=picture_2012_18829.jpg)
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Summary Byzantine Music. Doxology and spiritual exaltation
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The polynesian cultural traditions have exerted a great influence on a numerous theatre film directors. The traditional art, ancient customs as well as the ancestral language of the maori community from New Zeeland were forgotten because of historical vicissitudes of these lands. After the 1970’s reconciliations, the Maori natives gradually regained at all levels their freedom of expression. Today, the Maori community are rediscovering and relearning theirs language, culture and ancestral tradition, thanks to the new, tolerant educational system, modern electronic equipment, advanced information and communication resources
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In the year of 2013, various opera stages remain reticent to performing repertoire composed after the 1930’s. With very few exceptions of works written by local compatriots of respective regions, operas such as: Wozzeck, Lulu, The Turn of the Screw are barely or never heard in a live production. Performers themselves confine in the traditional mind and the old way of expression, which are unquestionably, vital for any artist’s professional existence. Nevertheless, a vast palette of emotional and mental experiences is missed and often, not understood. The grounds of this behavior are mainly charged to quick judgments such as: absence of melody, of emotions and difficulty in communicating with the audience in the new operatic repertoire. My study offers an assessment: that melody can be identified in the most unusual musical architecture of today’s composed opera; and that emotional delivery and communication in the singing art occur still through text, audio-visual, and now, as never before, through technology. In order to demonstrate this I have chosen one single opera, perhaps the newest, but certainly the most innovating of the 21st century, a masterpiece, that has been in the spotlight since its premiere in 2010 and whose music, libretto and performing production may seem controversial to some of the traditional-oriented performers and audiences. It is Tod Machover’s Death and the Powers, the Robot opera. The article also highlights the importance of sustaining innovation in the opera as a need to naturally adapt to the new conduct of life.
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In this paper we present a series of softwares by which we can statistically analyze the distribution of intervals and successive interval patterns. This research aims to identify typical coherencies in interval use and successive interval pattern use in works of different composers, different genres, musical forms, style/period or instrumental idiom. Some of these softwares are already welknown, others less, and one of them was created specifically for the purpose of this research.
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In the world of today the avalanche of information being provided with the help of the internet compels educators to adapt their pedagogical activities, by using all the technological resources available. Whether we speak about primary school students or university students, the perspective they have in relationship to their own development is a very lucid and precocious one. Due to the inexhaustible “scientific wealth” that the computer provides unconditionally, the current generations of children may become geniuses before they learn how to write. Does this phenomenon scare, condition or assist us?
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Electronic techniques are revolutionizing and will continue to revolutionize the fundamentals of the field of music, especially in terms of the performing tradition of the last 30-40 years. Thus, the controversial phenomenon called Sergiu Celibidache, consisting in the refusal of commercial recordings, ends, one way or the other, in the face of the overwhelming impetuosity of the offers provided by the computer.
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The article presents working methods involving information and communication technologies in teaching a musical instrument. The paper only presents methods which have been tested in classroom, especially by piano teachers, the teaching techniques being part of the authors’ personal experience. Conclusions also present a study based on a questionnaire, revealing an opening towards these new methods, adapting the instruments from the ICT area.
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The following article presents a case study on the timbrality of a traditional Armenian instrument, the Duduk. The research was aimed to determine the division of the registers and identification based on spectrographic analysis of frequencies of each register and sub-register. Thus, the analyzes are based on a scientific precision that can always be justified.
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The role of a woman in proces of creation and interpretation of traditional musical expression is connected with general position of a women and her place in community. Musical practice of women in town Žepče as well as local area is rare prof that a women is creative holder. Musical forms that are connected with female intimate musical practice prove her creative position. Among these musical formes the ones that stand out are one woman song performance in closed, isolated space (lullaby, spiritual songs) or small female circle (singing with casserole, flat songs, sevdalinka song), also singing in wedding costumes, as well as song that accompany work or are about work. Traditional patriarchal society has caused a certain inferiority of a woman in the community. The creation and interpretation of traditional musical expression marked her creative role in all artistic expressions within traditional musical practice on the Žepče and the surrounding area.
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With the help of this hereby study, I would like to present some of the records concerning musical education within the Reformed College of Székelyudvarhely, followed by a detailed description of Sigmond Orbán’s handwritten hymnbook as well as Mihály Nagy’s psalm book, the handwritten vocal scores which are a true testament to the level of musical life within 17th as well as 18th century Transylvania.
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The aim of this text is to analyse the opera Jonas (1976) of the Romanian composer Anatol Vieru. The first part is concentrated on the interpretations of the literary and musical symbols of this opera in the communist political context. The second part is analysing the specific structures and the symmetries (palindromes).
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In the history of Hungarian organ building, there were not many organ builders who earned such acknowledgement and reputation as the well known Josef Angster. Born to a family of simple peasants, Josef Angster knew already since he was a child that he was meant to become something more than his forefathers. In his diary, which he kept almost until his death, one can find a truly remarkable story about his adventurous life, which began in the small village of Kácsfalu in Hungary. In the following work I tried to depict the most important moments in the life of Josef Angster and the history of the organ factory he had built in Pécs, including technical details about the organs that he and his sons manufactured during a time span of almost a century.
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The functional axis-order in Bartók’s works, as the final consequence of the tempered ton system was discovered by Ernő Lendvai from the fifties of the twentieth century. We can find the axis-order functional thinking in the works of Zoltán Kodály, as an important element of his personal style, but that is mostly undiscovered, especially in connection with the Hungarian folksongs. The study Heptatonia secunda by Lajos Bárdos gives new ideas and tools for the analysis of Kodály’s oeuvre. Several characteristic examples are collected in this article from songs, choral works and instrumental music by Kodály to prove that idea, and, looking for the origin of the axis-order it shows its somehow earlier appearance in the music of Vivaldi, Haendel and Mozart.
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István Kolonics, born in Szabadka (Subotica), moved to Kézdivásárhely (Târgu Secuiesc) in 1855. He eventually became one of the most famous and most assiduous organ builders of the nineteenth century in Transylvania. He built about two hundred new instruments and repaired several. He also instructed numerous assistants. For many years this guaranteed the organs in Hungarian Catholic and Protestant churches to be in working order. This article continues the presentation of his work from the beginning of his career in Transylvania, the specialities on his instruments, the art of organ building and managing.
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Martin Luther, this Holy man, has dedicated his entire life, to the understanding of the teachings of Jesus Christ, in a wonderful way. Not to require wrong doing, not to take vengeance, to offer the other cheek, not to resist evil, to give the cloak along with the coat, to go two miles for one, to give to every one that asks, to lend to him who borrows, to pray for persecutors, to love enemies, to do good to them that hate, etc., as Christ himself teaches. The protestant choral was one of his preferred ways of the manifestations of his sorrows. The strength of his words was transformed into music, as he, himself explained: I learned this of the poet Virgil, who has the power so artfully to adapt his verses, and his words to the story he is telling; in like manner must Music govern all its notes and melodies by the text.
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Dinu Ciocan is the one who found first similarities between the work of art and the fuzzy set, which is subject to gradual change. In compositional art, Aurel Stroe translates these notions into his music. This perspective is very adequate, especially as it belongs to the mathematical notions that are very close to the aesthetics of the work of art, which involves the poetic dimension, the ethics of the intentional ambiguity and the vague character.
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This paper aims to discuss the interactive music system concept. An operational computer with “intelligent” software “understands” the performer actions and “follows” the score, being able to accompany the soloist, to transform the sound, and to generate music, during the ongoing performance. It provides the reader with compositional algorithms for the purpose of illustrating Max/MSP programming methods and techniques.
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The present “thematic issue” is a continuation of Lubomir Kavaldjiev’s initiative which brought about the first thematic number of the journal, named Idea – Concept – Terminology (Bulgarian Musicology, 2008, № 3 – 4), five years ago. The title is kept here the way it originally appeared, with the hope that thus a tradition of focusing on the scholarly vocabulary could be established. Nowadays, musicology opens itself more and more – on the one hand, to the problems of the past centuries (with particular interest in medieval music), and on the other hand, to the appearances of the postmodern epoch. The second issue of Idea – Concept – Terminology confirms this tendency. Here, such articles predominate, which surround with detailed attention the terminology of both the Western and the Eastern medieval traditions in church music (Yavor Genov’s and Klara Mechkova’s texts), as well as investigations on the various aspects of existence of this terminology in Slavic languages and in Bulgarian cultural space during the decades after the Liberation (Asen Atanasov’s and Yulian Kuyumdzhiev’s articles). The work of the Finnish researcher Jaakko Olkinuora is an expression of a parallel tendency to expansion of the scholarly vision through the promising resources of interdisciplinary approaches (in this certain case – through the deep connection between hymnography and iconography). The presence of texts devoted to the postmodern epoch is also remarkable. They include: terminological reactions in the process of speculation on musical thinking and listening experience (in the conception of performative turn, presented in Angelina Petrova’s article); the communication problems between different scholarly branches in the global world and the difficulties in translating the Asian traditional terminology (Ivanka Vlaeva); the idea of a new sound sensuousness (in Elisaveta Valchinova-Chendova’s text on Dimiter Christoff ); a possible new vision for the musical style in the postmodern epoch (in Gheorghi Arnaoudov’s study). In this collection, Bulgarian researchers’ increasing interest to the problems of baroque and classicist musical culture is clearly outlined either. The articles of Petya Stefanova, Vesko Stambolov and Anna Petrova-Forster make their contributions to the idea of activating and putting into scholarly use of certain terms and knowledge which are supposed to resume the living bond with the “classical” European musical mentality and practice of performance. The variety of topics in the collection is accomplished by two more original investigations. One of them edges the attention to a musical appearance which seems familiar, but is still theoretically “untouched” – the lullaby (Rossitsa Draganova). And the other one speculates on the possibility of creating a contemporary dictionary of conductor’s terminology (Tsvetelina Slavova). Lozanka Peycheva’s and Tsenka Yordanova’s articles form a thematic block in the field of ethnomusicology...
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Which areas of music terminology are subject of a closer look in the context of globalization? What are the prerequisites for their transfer and what are the ways of their perception? What requires professional preciseness using little known and unknown terminology? The object of this survey is issues, resulting from the global spread of regional music phenomena and practices, especially related terminology. Precisely the terminology has ability to synthesize and marks the most significant peculiarities of the music of a particular region, sociomusical layer, community and genre. Absorption of ideas, concepts and terminology in a new cultural and musical context often leads to their distortion, misunderstanding, mixing, as well as replacing of meanings. Thus, the focus of the study is issues on transmission of terminology and questions about the way of transcription, translation, terminological meanings and their context. The aim of this study is to set the key points and to propose some solutions in this area of survey. They are results of observations, analyzes and personal research experience about terminology from different regions of Asia and North Africa. Currently local music knowledge and its export have expanded. Together with associative and general translations of foreign musical terminology there is increasing usage of musical vocabulary in which phenomena and artifacts are called in their own original concepts. Thus, concepts are used as they are called by the representatives of the culture in which they are created and developed. That is just the way of reflection and verbalization of certain types of musical thinking, which is considered basic in this study. In the article are presented examples of transmission of terminology to new medium on the basis of the author’s thesis about several meanings of the concept world music and cultural and musical layers that they reflect.
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