Arg kosilane/Petis peiu
Arranged by Aleksander Sünter on the themes of runo songs "Shy Suitor" and "Cheater Groom". Comments by Aleksander Sünter and Vaike Sarv.
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Arranged by Aleksander Sünter on the themes of runo songs "Shy Suitor" and "Cheater Groom". Comments by Aleksander Sünter and Vaike Sarv.
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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 fundamental vision of music as a manifestation of Divine creation is grounded in the core of European cosmology. This vision draws “the red line” of European understanding for the sounds and their harmony – since Greek-Roman Antiquity and Old Testament Judaea through the Medieval liturgical monody and increasing contrapuntal practice. The ontological meaning of music requires to concentrate on the micro level of certain musical aspects, but also to put these details in the full picture of musical existence. That is why the knowledge of music needs also to be focused on overnational and over-cultural inheritance level. The present article aims to shed light on the terminology of the Gregorian chant and more specifically that part of it, represented in the Antiphoner. The function of the paper is rather informative than investigative. The purpose is to offer a basis of terms, able to depict Gregorian melodies, which could be assumed without exaggeration as a vocabulary of European musical language in general.
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Conductor terminology represents a subsystem of the general system of musical terminology. The current text presents an attempt at structuring a contemporary university dictionary of conductor terminology. Its lexical corpus includes both terminology used in the practice of conducting and terms which are explicitly or implicitly present in the process of teaching and learning conducting. The use of new specific concepts in the definitions is limited as much as possible because such concepts themselves need further defining which complicates the systemic function of the dictionary entry. This dictionary aims at systematizing terms and terminological phrases correlating them to corresponding terminology in the subsystem as well as encouraging learners to acquire skills of using professionally specialized conductor jargon.
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Triphonia is an integral part of Byzantine musical system with a crucial importance for Byzantine music. This article argues that triphonia (τριφωνία) brings about a breach of tetraphonic mode through a reduction of the modal ambitus. Triphonia disintegrates tetraphonia which is to say that the concept implies an event in the course of modal transformation (Phthorai; φθοραὶ). Triphonia is explored on structural level. Stemming from tetraphonia, it generates the meaning of a secondary structural entity of three phonai (φωναὶ) and a fourth one that repeats the function of the initial one on a new pitch level Because of its dependence on tetraphonia, triphonia is traditionally considered as a system within a system. Pointing to functional changes as a result of moving from tetraphonia to triphonia, the article interprets medieval terms, including paraкyrios, paraрlagios and paramesos. In addition, new terms are suggested. Named mono- and heptaphonia, these terms refer to the two triphonic forms: palinodic triphonia and evolved triphonia. They bring a possibility for rethinking the function of some martyriai (internal and initial) as an evidence for the transition from tetraphonia towards triphonia.
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Old Bulgarian Church Singing Vs. Eastern Church Singing. Semantic Differences in the Usage of Concepts During the Discussion from the Late 19th and Early 20th century The question of “what is the true Bulgarian church singing?” was widely debated in Bulgaria after the national liberation in 1878. It became the subject of a decade-long discussion (from the late 19th century to the 1940s), carried out mainly on the pages of numerous periodicals. Pointing to topical at that time issues of constructing and maintaining national identity in relation to the struggle for autonomous church, this article analyses semantic differences in the usage of basic concepts considered in the discussion. It is argued that differences concerning notions of Old Bulgarian church singing and Eastern church singing reflect the evolution of the discussion itself and the controversy and change in various individual positions.
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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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