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Pascal Bentoiu’s work provides examples of the various degrees of concreteness inthe correspondence between idea and language/sonority/musical discourse, coming not only fromgenres of artistic syncretism, like lieder or opera. The symphonic and chamber works are declared tohave sui generis relationships with extra-musical worlds, either the sibling arts (Symphonies no. VI,VII, VIII) or reflections on the creative ego (Symphonies I-V, Quartets op. 27). Focusing on the lattercycle, I will be formulating a few possible embodiments in sound matter and temporal dramaturgy ofthe intentions the author confessed to in the foreword of the score; the four quartets op. 27 areprogrammed to be “prospecting the composer’s tendencies, […] with a view to the mainpsychological functions, as defined in modern psychology: sensation, feeling, thought, intuition”. Onanalysing the scores, we also discover a quality of total compositional study coming through the widerange of combinational possibilies of every creative technique and parameter: defining modalstructures, categorically differentiated, widely varying instrumental sonorities moving between thesomber/classical and the complex of contemporary effects, plurivocal syntaxes covering the entirerange of writing for the quartet, dynamic formal architectures and macro-forms of the genredisplaying obvious symbolism.
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Le présent ouvrage approfondit les principales coordonnées de la création dugrand compositeur roumain Aurel Stroe, dans tous les domaines de la composition où il a activé.Nous proposons une synthèse de ses principaux paradigmes créateurs, avec des exemples etapplications concrètes, en soulignant aussi les liaisons entre les textes et les concepts musicologiquesde cet auteur, concepts très peu connus, même s’ils sont très originaux
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Of the nonverbal symbolic codes, the musical one is the most fascinating because ofthe ineffable quality intrinsic to the sound phenomenon. Appealing to the archetypal, the composerDoina Rotaru articulates in a quite ingenious manner three of the fundamental symbols convergent tothe idea of ascension/transcendence: light, wing and flight. Thus, the matter transformed into musicalmetaphor under the title Wings of Light takes the form of a sound accumulation of the ‘mass’ type,where the overall effect is conceived/perceived from the perspective of an original texture.
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Teoria muzicii psaltice postchrysantice a oferit în ultimele două sute de ani maimulte variante de intonaţie a scărilor muzicale, provenite din diferite sisteme de măsurare şi decalcul. Tendinţe contemporane de interpretare muzicală îşi propun să normeze cântarea, prinfolosirea instrumentului muzical. Dar, intonaţia netemperată a dominat secole de-a rândul în lipsaunor instrumente de măsură şi de normare instrumentală a intonaţiei, totul în cadrul unei practicimuzical-vocale, de factură preponderent orale. Prezentul studiu încercă să diferenţieze şi ierarhizezeprincipiile structurale în ehurile bizantine. În final, parcurgem drumul invers, de la cântarea practicăla teorie, de la fenomen la normă, în încercarea de a verifica în mod experimental validitateadiferitelor sisteme teoretice şi de a propune noi modele de înţelegere a intonaţiei diferitelor scărimuzicale psaltice. Între metodele utilizate, folosim analiza spectrografică computerizată, care esteaplicată asupra înregistrărilor sonore individuale
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Una dintre principalele caracteristici ale muzicii folclorice, oralitatea, care adominat şi în ciuda influenţelor occidentale ale culturii scrise, încă mai domină practica muziciibisericeşti bănăţene, face ca aceasta să fie puternic dominată de construcţii modale imprimate înci’onstrucţia meldocii populare. Ne referim în rândurile următoare, prin exemple concrete regăsite înpractica interpreţilor din partea românească şi sârbească a Banatului, la evidentele pătrunderifolclorice în modalitatea de origine bizantină.
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The research suggests a point of view over the music phenomenon in the presentdays, reported to the new technological means of communication such as Internet, that has beenoutlined by the informational society as successor of the industrial culture. The step fromreproduction to virtual reality is translated, in music, through a new phase. The broadcastedsoundtracks or LP, CD etc. recordings are gradually substituted by Internet radio or the digitalarchives. The International Network which connects the entire world today, becomes the new stage ofthe music phenomenon.
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In 2001, the musicologist Dora Maria David, from the Iaşi Radio Studio, madean impressive broadcasting series of interviews with Professor Mihail Cozmei, dedicated to theIaşi Philharmonic Society. Afterwards, she recorded them on 16 CDs, now existing in thearchives of both Radio Iaşi and Philharmonic Society. We submit in the next approach, with theauthor’s approval, genuine and memorable excerpts from these interviews, wishing to honour theIaşi Philharmonic Society’s 70th Anniversary. The historical events mentioned here are thefollowing: George Enescu in Iaşi – the concert season 1917-1918; the foundation of”Moldova”Philharmonic Society, in 1942, by the contribution of Professor Radu Constantinescu, togetherwith a group of musicians and music lovers from Iaşi; Ion Baciu period, national andinternational launching of the Philharmonic; great artists and their relationship with the IaşiPhilharmonic Society.
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Începând cu Pierrot lunaire a lui Schönberg şi până la Pulcinella de Stravinskidrumul parcurs de arta muzicală la începutul de secol 20 este atât de divers precum figurabufonului însăşi. Bufonii, nebunii şi clovnii se manifestă, de regulă, într-un mod neaşteptat, suntplini de surprize, reflectând, în aparenţă, greşit asupra lumii înconjurătoare. Ei sunt acei intruşi,care tulbură convenţiile, ordinea lucrurilor, ne fac să râdem de ei, de alţii şi chiar de noi înşine.Comunicarea noastră urmăreşte prezentarea diferitelor tipuri de bufoni, prin prisma unorcontexte emoţionale diferite: de la somnambulismul unei dragoste neîmplinite până la suferinţacauzată de o situaţie decisivă. La nivelul analizelor, vom evidenţia aspectele istorico -structuraleşi estetico-semantice ale acestor manifestări, ca expresii ale unui sistem simbolic şi semanticcomplex. Investigând climatul afectiv şi contextul socio-uman în care bufonul apare de regulă,putem constata, că această figură grăieşte despre neputinţa umană, indivi duală şi colectivădeopotrivă. Această neputinţă conduce la expresii artistice situate în zona grotescului (fărăperspectiva unor desăvârşiri în direcţia frumosului), cât şi la metamorfoze ireversibile,direcţionate spre conflictele cele mai variate.
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Mediul parizian de la răscrucea secolelor 19-20, în care s-a format Debussy şiRavel, a devenit un adevărat focar al preocupărilor artistice, atât în privinţa atragerii unuinumăr semnificativ de artişti de valoare din toată Europa, cât şi în cel al desch iderii spre celemai diferite culturi. Exotismul, a cărui prezenţă în creaţia muzicală europeană datează încă dinsecolul al 17-ea, a căpătat în componistica franceză din această perioadă un rol, care tindea pealocuri să depăşească statutul de curiozitate. Una dintre sursele majore ale influenţelor exoticedin creaţia lui Debussy şi Ravel a fost cu certitudine etosul spaniol. Medierile cu această culturăau fost înlesnite de Expoziţiile Mondiale, de compoziţiile de sorginte iberică ale unor compozitorifrancezi ca George Bizet sau Emmanuel Chabrier, precum şi prin prezenţa unor muzicienispanioli importanţi ai vremii (de exemplu Manuel de Falla) în cercurile artistice pariziene.Comunicarea urmăreşte atât surprinderea contextualităţii artistice, care a alim entat preocupărilepentru etosul spaniol, cât şi identificarea multiplelor aspecte ale acestei influenţe pe planullimbajului muzical din creaţia lui Debussy şi Ravel.
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The article deals with the therapeutic value of singing – a form of educationaltherapeuticactivity organization regarding the active method of musical therapy – in rehabilitatingand socializing with children between 6 and 13 years old who suffer (or don’t) from various diseases,some not no complicated disabilities or behavioral disorders.
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Oftentimes, musical composition follows a predeterminate generative mechanismthat takes the shape of an algorithm or matrix having the potential of strategic, macrotemporalcoverage. In the Concerto for String Orchestra (Concertul pentru orchestră de coarde), the composerRemus Georgescu achieves a remarkable feat of composition, generating the entire musical discoursebased on the exclusive input of a structure mode whose “placement in time” accurately reflects aseries of laborious and refined palindromic symmetries
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Commedia dell’arte, a phenomenon of art born in the 16th century, is one of the most important foundations of Western theatre and an integral part of contemporary theatre. Despite the fact that commedia dell’arte ebbed in the 18th century (even in its birthplace - Italy and France - there is no consistent tradition), it greatly influenced the successive forms of theatre and was perpetuated in literature. The practitioners of theatre found it interesting because of the exceptional technique of performance and improvisation. Contemporary theatrologists refuse to unconditionally claim that commedia dell’arte still exists today in its entirety, but they tend to agree that there exists a partial commedia dell’arte, some of its distinctive features. The Lithuanian professional theatre is not related to this Italian theatre form, but Lithuanian directors occasionally take an interest in and try to understand commedia dell’arte and explain their view to the public. Such attempts are the easiest to identify in examples of literary, i. e. written commedia dell’arte, as in the productions of the plays of Carlo Goldoni, Carlo Gozzi or Pierre Carlet de Chamblain de Marivaux. Nonetheless, to grasp the concept of commedia dell’arte, other plays, which use the same techniques unconsciously without direct interest in commedia dell’arte, can be of help.
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Theatre theorists and practitioners usually believe that most of the 21st century’s acting systems include either physical or psychological preparation but never both. It results in a misconception that versatile acting systems do not exist despite the fact that some of the well-known acting systems already encompass both mental and physical preparation. What this means is that these systems can be adopted by any actors working in various styles of theatre in any country and any culture. Even the Stanislavski System can be considered versatile despite the fact that in many countries his ideas are known as fit for psychological theatre only. In order to prove that acting systems should not prepare actors for a certain kind of theatre but rather develop such abilities as uniting body and mind, dealing with inner and outer difficulties, a comparison of Biomechanics, created by a Russian director Vsevolod Meyerhold, and the Suzuki method, developed by a Japanese director Tadashi Suzuki, is applied.These methods are based on a complex view on actor training and look back at the human nature and actor work with himself without any imposed rules on how to create a character. By comparing the methods, we seek to prove that the human nature is the same in any part of the world; therefore, versatile actor training methods could exist and be applied.
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The article distinguishes the principles of director Gintaras Varnas’ theatre pedagogics, as well as discusses performances Žvaigždžių kruša (2007), Decalogue (2008), and Šekspyriada (2009), which were staged during the process of students’ internship period. It deals with the creative collaboration of actors (as students) with the director (as teacher) and the practical results achieved together. The main sources of this accomplished study are the author’s conversations with director Varnas about his pedagogical principles, as well as the assessments of the pedagogical principles of Varnas within the years 2005–2009, as presented by his former students who are now actors working in various Lithuanian theatres.
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