![Studii de muzicologie de Liliana Gherman](/api/image/getissuecoverimage?id=picture_2020_53418.jpg)
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Emil Monţia remained in the conscience of the Romanian people as a hearty Transylvanianfolklorist, carol-picker, the composer of the wonderful Romance for voiceand piano. Together with Tiberiu Brediceanu and Sabin Drăgoi, Emil Montia dug upand spread the true Romanian song. Emil Montia was an intellectual elite who built apersonality at the height of his noble mission, never having a border between life andart, permanently seeking to fi nd his major existential meanings in the cultural creationof the Romanian people
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A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 1934) is a prominent figure in contemporary Romanian and universal music. In this article I presented the professional trajectory in a chronological and logical sequence of events of Cornel Ţăranu’s life, the list of all the doctoral theses supervised, his musicological publications, as well as his musical creation, organized by genres. He distinguished himself as a composer, musicologist, teacher, conductor of the “Ars Nova” ensemble as well as artistic director of the “Cluj Modern” Contemporary Music Festival, currently holding the position of Honorary President. His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. Representing an effigy of the contemporary Romanian music school of composition, Cornel Țăranu has included over 100 works in the patrimony of the national musical culture.
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In our investigation, we compared two different warming-up sections on the singing voice. In the first section, we used traditional tasks which were based on the “linear model” of the phonation, consisted out of “vocalisation” exercises. In the second section we used developed tasks based on the “nonlinear model” – first and second level - of the phonation, using also the experiences of the SOVT (semi-occluded vocal tract) practice. We applied also a new – personally developed - tool – called “nose pipe”- for the warming-up. The sample consisted of 30 persons, who attend since more than one-year classical singing education, 21 of them were females, 9 of them were males. We organised two different sections. The participants came on both of the sections without previous warming-up for the singing voice. First we recorded three vowels – [i, a, u] – for females on G4, for males on G3 - keeping for longer as 2sec, with comfortable volume, then came the 20’-25’ minute long warming-up procedure. After the procedures we repeated the recordings of the same vowels, and also surveyed the VRP (Voice range profile) of the participants on vowel [a]. For both of the warming-up procedures we used the same melodies. For recording we used TASCAM DR-07 MKII equipment. With the help of a stage, the microphones were held before the mouth of every participant, the same – 10cm – distance. For analysing the records, we used SIGVIEW 2.4., to appreciate the values of the parameters we used the SPSS software. We analysed one-second-long part – well balanced in sound level - of the records. The investigated parameters: number from the noise overriding overtones, the volume of f0 and H1H7, mean of the signal and SNR (signal noise ratio) between 0-9/12 kHz and between 2-4 kHz. During the warm-ups visited voice range and the VRP (Voice Range Profile) surveyed after both of the sections. According to our results both of the warming-up sections are effective. The traditional – vocalisation – has a beneficial effect on volume of f0, on the value of SNR between 0-9/12kHz and on VRP. The second - with nose-pipe - section has beneficial effect on the number of - from the noise enhancing - overtones, on the volume of H1H7, on the voice range visited during the section, and on the values of SNR between 2-4 kHz. As a conclusion we can enhance that both of the sections are useful, but for other aims. The mixed application of them would be referenced. The second section has also an accentuated beneficial effect on “singer-formant” (=intensification of overtones).
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The necessity and possibilities of music teachers to acquire skills of playing several musical instruments is discussed in the current article. The advantages and challenges of multi-instrumentalists’ practice are analysed. The authors strive to determine the peculiarities of music teachers – multi-instrumentalists’ activities and the advantages of such kind of teachers in comparison with conventionally trained ones. The essential competences of music teachers trained to handle several musical instruments were distinguished and their work possibilities discussed. The analysis allowed to discern several advantages of music teacher multi-instrumentalist, such as ability to organize different ensembles in which they are able to play the necessary instrument or temporary replace one of the instruments; high competence to explain peculiarities and character of different musical instruments of symphony orchestra in their music lessons; advanced skills in writing arrangements or composing music for ensembles and soloists.
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The article presents a qualitative study aimed at revealing the attitude of music educators towards inclusive education opportunities in the general education school. A relatively positive attitude of teachers towards the meaning and purpose of inclusive education has been identified: most music teachers perceive the meaning and purpose of inclusive education as an aspiration, naming the following key principles of inclusive education: accessibility of education, creation of equal opportunities for every learner, a supportive educational atmosphere, positive relationships with pupils and colleagues and the like. On the other hand, it has been found that up until now, for some teachers, the conception of inclusive education is not fully clear: inclusive education is still perceived as a method that helps to serve children who have disabilities in general educational settings. Research data revealed that educators’ attitudes towards inclusive education depended on age: older teachers were not only more sceptical than younger, assessing the idea of inclusive education itself, but also avoided collaboration and sharing good practice with colleagues in the educational process.
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In this short study, we aim to define the typologies of the sonata form in the music of the Baroque period, alongside the perspective of some well-known authors (Charles Rosen, James Webster or William Newman) and to propose two analyses – the Sonata in G minor, K. 450 composed by D. Scarlatti and part I from the Sonata in A major, Wq. 55/4 by C. Ph. E. Bach. An interesting point of this study is the connection and the transition from the monothematic sonata form to the bithematic sonata form.
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The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interesting topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies.
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This paper aims to present the Armenian music - especially the Armenian liturgical music - from Transylvania, based on the scant research conducted so far and also starting from the research carried out by the author, based on some recently discovered musical materials. The troubled history of the Armenian people largely defines the way the arts developed, and moreover how the vast and rich culture that characterizes the Armenian people spread throughout the world. The article briefly presents the historical process of migration and the settling of Armenians on the Transylvanian lands, the founding of cities, and the construction of Armenian churches, followed by the assimilation of this large ethnic group into the Hungarian population, the gradual transformation of religious worship, and the almost forced transition of Armenians to the Catholic rite. The paper also presents the local traditions and the influence of the Hungarian people, with whom the Armenians came into contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the change of the musical art. References are made to folk music, and afterward a large part of the article is dedicated to information related to Armenian religious music in Transylvania. The article - as mentioned above - presents only briefly this little researched topic, a quite intriguing one, while the in-depth study of the issue and the analysis of the manuscripts discovered will be carried out as part of the doctoral studies of the author.
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In this article, we have emphasized the premises that led to the birth of the Cluj-Napoca school of composition belonging to the Music Academy, a place where great musical personalities will be shaped, both for the Romanian and universal artistic-musical context. One of the most important composers of the interwar years is Sigismund Toduţă, a former student of this institution, who later became leader of the Cluj-Napoca school of composition. The stylistic coordinates used in his compositional approach will be featured, based on the triad of inspiration sources – the folk melos, the Byzantine song and the Gregorian chant. Through his musical, pedagogical and human qualities, Toduţă will be able to guide, in the composition class, a generation of musicians that will prevail in the Romanian cultural space through a musical language that has as its starting point the orientations and conceptions of the master, enriched, along the way, with their own conquests and principles.
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In this paper we study the superscriptions of the Psalms, especially those indications of genre and music that are phonetically transcribed in the Bible translations. Following the introduction, the study is divided into 3 sections. The first section provides some important information on the cult and musical role of the superscriptions: how they were created, what is their role, and why some Psalms have superscriptions, while others don’t. The second part etymologically and semantically explores those superscriptions, which, apart from genre, also indicate the way of musical performance, the instrumental accompaniment and the role of music next to singing, in general. A total of seven Hebrew concepts are explored concerning their meaning and etymology. The third part deals with superscriptions indicating musical performance and melody. Before going into a detailed analysis of each concept, however, the meaning of the term LAMÖNACÉAKH is presented. This concept is included in the superscription of 55 Psalms and is translated by Károli with the term “the director of music” each time. This is followed by an analysis of 10 concepts that are specifically related to the melody material, i.e. music. In which tone and accompanied by which instruments should the Psalm be performed, and to the melody of which other song should each be sung. The study concludes by discussing the etymology of the musical term SZELÁH. This musical symbol is not found in the superscriptions, but in the main text of the Psalms.
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In multidisciplinary research, theology and musicology occupy a special place. In the present scientific research we have corroborated historical data about Jewish Palestine, with special reference to one of the books of the Old Testament, the Psalms of David. In the present academic incursion I proposed a musicological-theological vision regarding one of the most special publications, the psalms. The psalm par excellence is a hymn of adoration, thanksgiving and prayer that the Christian addresses to God.
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From a diachronic perspective, the Transylvanian Religious Orthodox music can be defined by two specific and complementary characteristics: stability and dynamics. The stability of religious music is given by the continuity, in time, of some unitary melodic matrixes, and the dynamic is determined by the development of specific melodic patterns under the action of many historical and cultural factors. In the core of the Transylvanian religious music tradition, in a both conservatory and innovative composition process, we could include Professor Vasile Petrașcu’s musical creation. By assimilating both ways of religious music, oral and written, he engages in a wide composition and publication process, writing an entire series of religious creations destined to cult performance. Combining in a personal manner the melodic matrixes present in the first musical document by Dimitrie Cunțanu, in 1890, with new melodic patterns which had appeared because of the folk music’s interaction, with the cult music and the music of the other co-living cults, manages to enrich the Transylvanian musical religious repertoire with an entire series of musical collection. All his works have multiple purposes: firstly, they have an instructive-educational purpose, being composed as a teaching material for the Theological Academy and the Theological Seminary’s students; secondly, they have a practical purpose, many of them being destined for the religious celebrations that were taking place in the ecclesiastic and community space and, moreover, they were composed to enrich the new choirs’ repertoire; and last, but not least, we can determine a patrimonial purpose, that of preserving and continuing in an authentic and steady spirit, the Transylvanian religious music tradition.
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The interpretation of a musical work in modern performance arises as an acute problem that causes discussion. Thanks to the theory of analysis, it is possible to obtain a variety of analytical interpretations of a musical text. Semantic analysis appears as one of the main and most promising methods of decoding the semantic structures of the works of later Franz Liszt’s period. The composer creates a new genre – a mournful piece or a threnody, through which he was able to express painful feelings about tragic events. Liszt most actively uses the symbols of passion in the late period of creative life. Passion is interpreted as a phenomenon that takes over the properties of the genre of passions and transforms them into the principle of thinking, reasoning and dramatic art. In piano threnodies, musical-rhetorical pieces of passion express something secret, sacred, and sometimes tragic, and the symbols of the passion nature of the threnodies reflect Liszt’s tragic outlook in his late years. Consequently, immersion in the semantic depth of the threnodies in the context of the concept of passion allows both instrumentalist performers and teachers to reveal the multidimensionality of the complex of eternal problems in a new way that contribute to the birth of a new meaning.
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According to Alfred Cortot, the suite Le Tombeau de Couperin could be divided into two main units: the first part presented below represents the structural arch of the suite. Each analyzed part represents a specific compositional technique of the Baroque era. The fusion between the elements of the French baroque keyboard music and the characteristics of the modern piano music transforms this piece into a real and unique masterpiece. By analyzing the Prelude, the Fugue and the Toccata we have the opportunity to understand the vision about the French baroque music created by the artists of the 20th century.
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This article presents the tone row used by Arnold Schoenberg in the choral work De Profundis, written in twelve – tone technique, in two hypostases: as a grouping of all-combinatorial hexachords (rare quality leading to a deliberate symmetry in the transformation of the note row) and as the sum of two interval dyads (complementary or antithetical). The composer’s choices regarding the notes used in the series emphasize a permanent pendulum between the concept of tension and relaxation, between gravitational sound systems (with interval resolutions) and non-gravitational ones. These aspects convince us of the musical maturity at which Schoenberg arrived in his last compositional period, in which he chose to express himself without exclusively choosing one language (tonal or atonal).
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An avant-garde composer, a great thinker on the musical and musicological phenomenon, the possessor of interior images that give birth to music of a particular beauty, Aurel Stroe was also a teacher of the Bucharest Conservatory until he left the country, settling in Germany. His music has a great complexity, bordering on different artistic and conceptual routes, characterized by multidisciplinarity and multiculturalism. The concert for accordion and ensemble of soloists is his last major work and concentrates the synthesis of his compositional and semantic resources (especially the third part, Accord-matrice). The matrix accord coagulates the tensions that have occurred in the concert and succeeds with a unique ability to reduce the expressive field of the preceding elements into a single structure.
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Schiff András: A zene a csendből jön Beszélgetések Martin Meyerrel – Esszék Ford. Győri László és Hamburger Klára Magvető, Budapest, 2018. 4999 Ft, 327 oldal
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Hip hop music as part of hip hop culture has been gaining popularity worldwide over the last three decades. The purpose of this paper is to gain a better perspective and understanding of the business benefits of hip hop and to show its economic impact. In this context, the synergy of hip hop and tourism is covered. For the purpose of this paper, secondary data sources have been used by consulting existing literature in the field of hip hop, as well as the Internet. A review of the literature has shown that there are many authors on international level who have published professional literature concerning various aspects of hip hop culture. Relevant statistics show that at the moment, at worldwide level the best-selling music genre is hip hop with 38% of sales, followed by rock music with 20%, and the rest are other music genres. On the other hand, when it comes to concert tours, hip-hop artists account for 11% of world concert tours, compared to 55% for rock music. The wealth of the top five hip hop artists in 2019 was $ 2.930 million, and hip hop artist Jay Z is the first hip hop artist to create a billion-dollar fortune.
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