![Hartă sinoptică (2)](/api/image/getissuecoverimage?id=picture_2017_33388.jpg)
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
A 70 év a bibliai korhatár fele plusz 10, azaz 60 plusz 10. Tíz év a második félidőből. A 90. zsoltár szerint a 70 az emberi életet jelenti a maga teljességében, gazdagságában és szépségében, egy kerek egészet a maga harmóniájával és beteltségével. Viszont sok ember ha visszatekint a háta mögött sorakozó 70 évre, a kocogó semmin kívül nem sokat lát maga mögött, mert sokan sem a hóban, sem a tenger fövényében még nyomokat sem tudtak hagyni, valahogy nem sikerült nekik s így a kiégett puszták lidércei töltik be azt, amit életnek nevezünk, és mesék nosztalgiájává válik az, amit Mikszáth így fogalmaz meg: ott kint a Brezinán az a fekete folt, fekete folt hátán vala akol volt.
More...
The paper presents those composers and musicians who are mentioned by name in the Old Testament. Among the composers and singers there are not only men and male groups of singers, but also women and female groups of singers. There are mentions of female composers, singers and song teachers. The paper processes the biographical data related to the above mentioned persons and groups and presents the biblical data on the genre and musical material of the presented song or songs. The author of the paper offers detailed information on the instruments presented in the Old Testament and presents the Biblical locuses where these are mentioned. Finally the author concludes that in the Old Testament times it is impossible to separate cultic singing from lay, i.e. Profane singing, for everything we would call today classical music or even popular music in those times belonged to the sphere of musica sacra. Love songs, songs of the marriage ceremony, harvest songs are all songs that praise God, besides their profane nature.
More...
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, the third in the cycle about Kolonics edited in Studia Musica, presents the description of the first part of the organs made by Kolonics.
More...
This paper presents the importance of the castrato-phenomenon in the history of the European music. From the humiliation and punishment of the defeated, castration became first in the Byzantine culture (from the 5th century) and long after in Italy (from the 16th century) a sacrifice and an offering for art and music. Being forbidden, but tolerated and even supported, castration for music became the most unnatural but also the most supernatural human phenomenon, used for artistic amusement and delight. Starting the singing career in catholic churches, they became the most adored and celebrated primo uomo-s of the renowned European operatic stages. Their presence transformed the genre of opera, and their singing technique (ben cantare) lead up to the bel canto style of the Romanticism. The revival of the baroque opera (for ex. the operas of Händel, who employed for these roles more than twenty Italian castratos) brings up the problem of finding the adequate singer-type, who could “replace” their roles.
More...
Though Ravel usually avoided to include himself into aesthetic trends, his statements regarding musical works, composers or schools of the past and also of his time demonstrate that he had a quite clear view of the contemporary art. In respect of impressionism, he distanced himself systematically from it, while his arguments reflect a deep knowledge of its main aesthetic and style features. Being a consecrated admirer of impressionist painting, his observations on this trend were not against it, but the expression of his neutral position regarding any trend. As a result, his creative universe, however varied, appears to be rather a closed one. Though Ravel’s oeuvre is original, especially regarding the piano and orchestral compositions set up before the World War I, it vibrates in a subtle manner with the major trends of his time: symbolism, impressionism, expressionism, neoclassicism and even futurism. This paper analyses his connections with impressionism through his words.
More...
The present study proposes an insight of the use of space by composers worldwide during several centuries. From the first appearances dated in the Renaissance period until our days, space has been used in a many ways and this aspect inspired composers from all the important periods of time. From Giovanni Gabrieli to Beethoven or Mozart, from Mahler to Henry Brant or Kurtág, each composer exploited space in many ways in order to harness their visions on both programmatic and concrete music. In our days, a very important role in the development process of spatialized music is given to the electro-acoustic trend which expanded in many ways throughout the important studios in Europe and United States. Other important features in this field of music is the sound scaping trend. Numerous artists are looking to extract as much possible from a specific space by recording or exploiting its acoustics and aural architecture.
More...
The Romanian repertoire is rich if we refer to the one dedicated to the Christian elements to praising the Lord, the Virgin Mary, or to the creations of the type Ave Maria, Our Father, Requiem, cantata, etc. Romanian composers created works about the glory of God and of the Mother of God, displaying a special approach to the texts of these prayers. In the Romanian vocal art at the end of the 20th c. and the beginning of the 21st c., if we concentrate on the soloist repertoire for soprano, the choral and vocal symphonic repertoire, we discover the following terms of reference which can be associated with the research of elements of Christian tradition and spirituality in the Romanian musical culture from George Enescu until the present day.
More...
Promoting chamber music initiative in the field of music education was regarded as priority of the Erasmus Intensive Program Chamber music initiative in choral singing and ensemble work based on compositions by Robert Schumann. Every European partner country in the consortium contributed individual suggestions and complements to develop students’ chamber musical creativity. At the end of the program participants represent program results in their final concert performances.
More...
This paper presents the relationship of music and motion in the method of Émile Jaques-Dalcroze and dr. Géza Kovács, as well as introducing the techniques of the age-old Chinese martial art form of Taijiquan. The paper describes specific movements to achieve flexibility and relaxed posture that are fundamental for effective music practice. The author gives examples from her own teaching methods, complementing piano playing movements with other types of advantageous motions.
More...
The present paper presents the the portrait of Liviu Țaran (b. 1961), an important folk musician from Fundu Moldovei village, the county of Suceava, an area of important and rich folk tradition. He is the grandson of a virtuoso shepherd’s pipe player, Ilie Cazacu (1903-1979), who, in turn, was trained by the famous violinist Sidor Andronicescu (1899-1981); both lived in the same village. For almost 70 years, the latter was the conductor of the most famous folk music band in the area. Liviu Țaran learnt how to play the shepherd’s pipe from his grandfather, Ilie Cazacu, whose entire repertoire he took and which he masterfully performs, with a skill which is comparable to his grandfather’s. Liviu Țăran’s repertoire consists of old, genuine folk melodies, dance tunes for certain occasions or casual, “doina” songs, as well as shepherds’ tunes. The virtuoso is a member of an amateurs’ ensemble named “Arcanul”, established in the 70’s in Fundu Moldovei village. The ensemble is still active in performances at home and abroad and promotes genuine folk songs and dance music from Bukovina. To briefly illustrate Liviu Țaran’s repertoire, we added two sample songs in musical notation. Ilie Cazacu’s and Liviu Țaran’s extensive musical activity, as well as their impressive repertoire, are undoubtedly invaluable treasures of the national folklore heritage from Bukovina; they set an example to be followed by the present-day and next generations of performers.
More...
Serving the community through playing music as a role, gradually was filled by gipsy musicians in the Carpathian basin, between the 18th and 20th century. Playing music became a profession and came in hand with a high reputation in society. Through performing music, the gipsy musicians had a tighter contact with the local population as well as they could rise above other ethnic gipsies of the society. Their integration however is not complete. They guard and keep their original native language and operate separately as "gipsy musicians". In the central part of the Great Plain the methods for teaching music were rather different. Most gipsy families passed on their skills and knowledge to the next generation within the family, most of them self-taught, and followed the learning by doing principle. These families’ children were given an instrument into the hand as early as possible, (possibly by the age of 5 or 6) and as soon as they were able to play a few melodies, they followed the bands to different occasions to play alongside them. Following this path, children of musician families learnt the followings at the same time: ability to play an instrument, to be a good chamber musician, correct behaviour in different situations, norm system and their role and place in the community. By the age of 15, they could lead a band (violinists only) on smaller occasion and could earn their living. The fine motor skills used in the instrumental playing can be inherited and also learnt. These skills were integrated on a psychological, biological and social way, into the professional, family and social life of the gipsy musicians. It is very important to mention the learning by hearing self-educating method, as the main used method for learning music and learn to play an instrument. The gipsy musicians used it during their childhood as well as in the later stages of life. This complex way of learning was absolute key factor to their employment and their chance to earn money. The musicians of Magyarpalatka served their own village's musical need as well as most of the surrounding areas too, let there be Hungarians, Rumanians or gipsy communities. The music played in their heads, grouped by ethnicity or personal preference of the villagers. They always knew perfectly well to whom what and how to play or perform. The bands regularly played in several (4 or even 8) villages, therefore the music was somewhat given and taken between different communities. As the musicians were delivering a service to the people, the musicians would never identify themselves with the costumers (the majority of the population around them), but they could get emotionally attached to them through entertaining people by playing their music. Although the musicians were a separate group of people from the common peasants, they had a vital social role in the village life. (The relationship was with each served group mutual.) The gipsy musicians were highly sought after, therefore it was quite natural to pass the profession on to the next generation, for example in Magyarpalatka, we know of 68 professional musicians through five generations! These musicians were extremely popular especially during the 20th century and so a great legacy of them was left in the area for the next generations. (This dynasty was not the only one with such impact; there were many others within the Carpathian basin.) The current generation of this dynasty - due to the globalisation which involves the whole world - has been reduced to the absolute minimum, despite of their ability to accommodate to any circumstances. The profession of musicians went through a transformation of status. Through modernisation, music becomes more and more machine like, due to urbanisation the small villages loose most of their population who cannot employ the local traditional musicians. However the musical material keeps on living in dance houses (ceilidh events), and through performances thanks to the revival movement. This keeps the current traditional musicians employed, reinforces the local culture and identity, it makes the younger generation to study and polish the traditional folk music and dance.
More...
This study presents the variation form in Wolfgang Amadeus Mozart’s piano works. At first there is a short description of the variation form. From each genre, where the variation form appears in Mozart’s piano works, I chose the most representative example: the “Je suis Lindor“ Variations as an independent variational work, the first movement of the A major piano sonata KV 331 as a variational part of a solo piano work and the second movement of the E flat Major KV 482 piano concerto as a part of a concert. By analysing the works mentioned before I obtained a clear image about Mozart’s harmonical language, form and structure, character and tonalities in his variational piano works.
More...
With this analysis, the author continues the journey of presenting the prayers of female protagonists from Giuseppe Verdi’s operas, a lesser-known topic within the vast bibliography dedicated to the oeuvre of the great Italian Maestro. The heroine’s Prayer from the opera Giovanna d’Arco, which bears a strong bel canto influence is the fourth in the author’s series of analyses of preghiere written for the solo female voice found in ten of the composer’s works . Further analyses published in this series will shed light upon well-known examples of preghiere – like the famous prayers of Leonora from La Forza del Destino, which is preceded by two other examples from Luisa Miller and Stiffelio –, but also ones illustrating the language transformation of the female prayer in mature operatic works, such as Aida and Otello.
More...
Focusing on Giuseppe Verdi’s adaptation of Shakespeare’s Othello, this paper discusses the usage of the four natural elements – Earth, Air, Water, Fire – and their sacred connotations in the opening storm of Otello. It is common for composers to express key thematic points in the overture or the first scene of an opera and to develop them throughout the entire piece. In adapting William Shakespeare’s play, Verdi chose the tempest in the second act as a starting point for his opera. Thus, The great contention of the sea and skies (Othello, II.1.91) acquires powerful acoustic and visual effects in Verdi’s storm, mirroring Othello’s troubled heart: Flashes! Crashes! Whirlpools! Howling winds and thunder’s mighty roar! Air and water shake together, shaken is the ocean-floor! (Otello, I.1.12-15). Both the opera libretto and the orchestral accompaniment are expressive of the forces of nature which reflect, metaphorically, instances from Othello’s journey through life. Wind, fire, sea, thunder, rocks, lightning, flames – all contribute to offering an insight into what is about to happen. The musical accompaniment is a powerful tool in conveying spirituality, while Shakespeare’s lines resonate in the libretto to the same purpose.
More...
The study centres on the instruction of the two Forewords written by Richard Strauss to his opera Intermezzo to achieve perfect text understanding. The obvious reason writing that, during orchestral or operatic performance, one cannot understand the words as expressed by the singers. The composer first resolves this problem in Intermezzo, which I can appreciate both as an opera singer and as an orchestral musician.
More...
This paper analyses Gárdonyi Zoltán’s musical work Fantasia for Violin and Organ inspired by the Tune of the Hymn entitled “Az én időm mint a szép nyár” (My Time is like the Shiny Summer). The musical work is placed in the historical context of its creation. Starting from the analysis of the basic song, the paper presents the architectural scheme of the piece, the proportions of the component sections, their metre and tonality. Then, it describes the musical content of each section, by illustrating the description of its content by musical examples.
More...
Among Valentin Timaru’s theoretical works, we encounter three volumes Aforisme: comentarii și confesiuni (Aphorisms: Comments and Confessions), Muzica noastră cea spre ființă (Our Life-Giving Music), and Frumosul artistic și fațetele sale subiective (Artistic Beauty and Its Subjective Facets), which are approached contextually, in an essayistic, personalized style. The author’s manner of speech often encloses subjective aspects gathered during his lifetime experience, but nevertheless the proposed debate involves a vast knowledge of various stringent (general) artistic, artistic-musical, philosophical, aesthetic, and psychological issues (behavioural conducts and human feelings). In essayistic style because not all aspects required in the elaboration of such a study are observed ad litteram. The large sizes of the works enable us to approach their subjects from various perspectives, advising the reader in perceiving the themes microscopically as well as synoptically.
More...
The general issue of reclaiming and preserving the musical folklore heritage is crucial within the framework of our postmodern world; at present, due to the major changes in society following technological advances and globalization, folklore has undergone important mutations. It therefore requires a considerable effort to research and document national or local archives; the results of this efforts are usually remarkable. Is is the case of the latest achievement by Constanţa Cristescu, PhD, from the Bukovina Culture Centre of Suceava, a distinguished musicologist and an impassionate, tireless and prolific researcher; in the past years, she has been active in supporting, investigating and promoting genuine folklore from Bukovina. The volume with the title Musical Folklore from Bukovina – vol. 1 – Ritual vocal repertoire for rituals and ceremonies is the first one in a larger project aimed at introducing to the public the volumes of folklore collected by Alexandru Voievidca at the beginning of the 20th century in Austro-Hungarian Bukovina, a project the researcher intends to complete in the coming years.
More...