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The article is devoted to one of the lute music manuscript which comes from the lute tablatures collection of Krzeszów (Grüssau) Cistercians from the 18th century. It is kept now at the National Library in Warsaw (call number: PL-Wn Mus. 396 Cim.) but until World War II it was placed in the Schaffgotsch’s library collection in Cieplice Śląskie (Bad Warmbrunn). There it was made available for the public as a lute tablature with the call number K. 44. This manuscript aroused interest of, among others, a famous bibliophile, lute music lover and researcher Wilhelm Tappert (19.02.1830 – 27.10.1907). He was of the Silesian origin because he was born in Tomaszów Bolesławiecki (Thomaswaldau) in the Lower Silesia. During his research on this manuscript since July 10th, 1895 until April 8th, 1900 he stayed in neighboring Agnieszków (Agnetendorf) — since 1998 a district of Jelenia Góra city (Hirschberg). He placed his own remarks, notes, transcriptions, copy of pieces and printed brochures in his notebook which now functions as a manuscript in the „Nachlaß Tappert” collection preserved in the Staatsbibliothek Berlin – Preussischer Kulturbesitz under call number D-B Mus. ms. 40277. This manuscript has not been a subject of a detailed research until now. It has been only mentioned by researchers that it exists in general. The research has shown that the manuscript D-B Mus. ms. 40277 does not contain a copy of all pieces from the lute tablature of the 18th century. There are only 46 works, moreover, the vast majority of their genres are minuets (13). The copy of the Silesian manuscript was also a pretext to reach for Wilhelm Tappert’s collection, what allowed to pay attention to his broad journalistic, scientific, artistic and especially bibliophile activity. Nachlaß Tappert is a collection which contains not only information which present a huge spectrum of Wilhelm Tappert’s work, but it is also an extremely valuable information source for doing research on the history of lute music. While making many copies of handwriting and printed sources Tappert used the collections which are unavailable now. His huge heritage appears to be a priceless information source about the lute music history and also about the musical culture of Silesia together with folk music.
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Early Sources with Middle Byzantine Notation.Transition Coislin Notation in Diastematic Stage in the second half of XII century.(According to materials from the Sticherarion)
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The heritage of Byzantine musical treatises known as προπαιδεία and προθεωρία is a valuable source of information about neumatic notation and its use in ecclesiastical chants. The present work deals with the section of intonation formulas (echemata) and its close relation with the liturgical practice. Usually, this section follows others which represent the names, graphic symbols and combinations of the neumes, their classification in groups and the exposition of the modes, modal signatures and modulation signs φθοραί. We find some clarification of the meaning of the mysterious words used for singing the intonation formulas (without literal translation) - αvαvεαvες, ανεαvες, αvεσ, αγια etc. in Greek-Arabic music treatise Petrop. Gr. 497 identified by Yanko Marinov as a part of Sinai Hirmologion 1257 (1332) and in the treatise of Chrysantos. The wide space dedicated to echemata section in some of the byzantine musical treatises is indicative of their important role in liturgical practice during the Middle Ages. Analysis of the various kinds of intonation formulas (intonations) and comparison between them take up a large place in this study and every detail of theirs is important because they witness the regional characteristics. The echemata variants of four modes (first, second, third and forth plagal) are classified in several groups each of them including intonations that have identical (similar) melodic constructions or endings. Two types of exposition in the echemata sections are being distinguished here: an early type, in which the intonations are few in number and they are given mostly in their short forms and a late type including numerous additional variants some of them combined with the incipits of certain stichera. Also the number of the intonations containing melismatic figures increases in the late treatises . We find melismatic variants even in the earliest sections of echemata, a fact that makes us conclude about the simultaneous existence of short and melismatic intonations before their inscription in treatises. The study is based on eight byzantine manuscripts dated between XII-XVI century. (The list of sources and their abbreviations is given on page 5). Sticherarion 1218 does not contain a full treatise. In it we can find the earliest systematic exposition of the intonation formulas (f. 271) according to the known up to now sources. Even though the treatise Petrop. Gr. 495 contains no colophon, however it could be dated according to Sticherarion Sin. gr.1231 (1236). In terms of the date of the Vatican anthology Barb. gr. 300, we accept the thesis of E.Gamillscheg, D. Harlfinger and H. Hunger. A part of the present publication also deals with the problem of close relation between intonation formulas and modal signatures; a subject on which efforts have been made in a lot of studies to enlighten us. O.Strunk’s thesis that the signatures are a simple abbreviation of the intonation formulas presumes the secondary character of
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The study aims to present different sources.The Heirmoi of the Good Friday Triodion (a canon containing 3 odes) which belongs to the significant, in trems of quantity, hymnographical work of Cosma from Majuma , are presented by Byzantine musical manuscripts written in Round notation (XIII-XIV c.) and by others written in paleobyzantine notation system (X-XII c.). The Heirmoi of this canon are written not only in Heirmologions, but also in other sticherarions where the repertoire for Easter week is written down so detailed that it reaches the level of a full liturgical typicon.
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The main source which is considered in the article (study) is the book “L’antica melurgia bizantina” by hieromonk Lorenzo Tardo. The book is little known in Bulgaria. In presenting the book to the readers I have preferred those data which provide information on Byzantine music in the territory of Italy. The book also presents sources from libraries and monasteries in Italy. This work by Tardo is of Eastern Church chants. It is based on evidence from the monastic school in the Grottaferrata Monastery near Rome. It was printed in 1938 in the Eastern Italian school of printing bearing the name of St. Nilus. The author also relies on a large number of documents as living evidence of the importance and beauty of those medieval works which in his opinion are a model of Byzantine music and hymnography and which are still in use in the Church. The chants presented can be accepted as models showing the interaction of the oral and written traditions of Byzantine chant. The book by L.Tardo is not the object of a critical study. It cannot rival contemporary works on the subject but it provides valuable obserations in the field of Byzantine music and hymnography in the Italo-Greek area. By means of a comparative analysis of many musical documents preserved in Italian libraries and their interpretation by hieromonk Lorenco, we obtain a picture (we get an idea) of the vitality and importance of the local oral tradition and its legitimization in the practice of the Church as a genuine bridge between the East and the West.
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Improvisation is one of the essential choreutic processes for the folkloric nature of traditional dances, therefore it should be accorded the same importance in the dances of ethnographic type, as elements of a sustainable safeguarding. After a relatively consistent bibliographical introduction, centered on one of the studies based most on the Romanian choreic data, this article puts forward a short case study focusing on the ways improvisation reveals itself along the dances integrated in the ritual of Căluş. Detecting the mechanisms of the improvisation at the levels of its choreic texts and co-texts aims to reveal the significance of this process throughout the re-folklorization of the dances of ethnographic type.
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Morse Dedication, for Violin and Piano (Score)
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The 20th century is considered to be the most contradictory and unsettled period in the history of the entire world culture. The cultural traditions of a nation strongly connect the creations and practices of the past with the present societies; they represent an expression of their spirituality and soul. The Romanian cultural identity, which is constantly changing, keeps a close connection with its previous historical events. The future of a certain society depends largely on how the cultural history is perceived and interpreted by the collective consciousness. In the period between the two World Wars in Romania, there was great concern for the integration of the Romanian national culture with the European one. The first half of the 20th century is rightly regarded as the golden age of Romanian culture, which reached its highest level of international affirmation during time.
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Remembering the future – Ștefan Angi’s confessions about his colleague, the composer Cornel Țăranu (Ștefan Angi: Cornel Țăranu. Mărturisiri mozaicate, studii și eseuri (Ștefan Angi: Cornel Țăranu. Tessellated Confessions. Studies and Essays), Ed. Eikon, Cluj-Napoca, 2014)
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The romantic hero is born from reality. Whether his name is Manfred, Werther, Clavigo, Onegin or Byron, Schumann, Tchaikovsky, he will always bear the seal of the society he comes from. Noble and cultivated, he enjoys his privileged life to the fullest, but at some point this no longer satisfies him. An outlaw, a “wasted” and incomprehensible genius, this “enfant terrible” suffering from the incurable “mal de siècle” escapes, disillusioned, from his commonplace existence and embarks on a quest for the unknown, living in that Eminescian “poignant charm”. He faces fate with dignity, without repent, paying for his audacity with his life. George Gordon Byron, Shakespeare's illustrious descendant, fascinated the whole European cultural space: he created the prototype of the Romantic hero not only through his poems, but also through his own adventurous life. Manfred (1816-1817) is a dramatic poem sprinkled with supernatural elements, haunted by ghosts, written in the tone of the black novel and of the mysterious romantic drama. The poet took the name of his character from Manfred, King of Sicily in the 13th century, invoked in Dante's Divine Comedy. Nietzsche was so impressed with the image of the Byronic superhero that he wrote a musical composition on the same theme. Schumann's version (Ouverture zu Manfred op.115), composed in 1849 and having an autobiographical resonance, is considered among the composer's most touching pages. Tchaikovsky, engrossed in the drama of the theme, treated it in his own personal way, creating a monumental synthesis between the symphonic style and his unerring sense of the stage.
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After developing his famous micro polyphony in the 60’, conceived as an alternative to the declined tonal music and even the serialism, Ligeti was going to explore in the last decades of the 20th century the field of rhythm, as a consequence of his compositional evolution. Meanwhile, he came into contact with a series of new musical and scientific phenomena, which captivated his creative mind, urging him to undertake further experiments regarding the possibilities of a multidimensional and non-symmetrical articulation of musical time. The most fertile field of these explorations was probably the piano genre, abandoned by Ligeti from the early 60’ for orchestral music. Alongside the Three Pieces for Two Pianos (1976) and the Piano Concerto (1985-88), his most significant series of piano pieces are the eighteen études composed between the years 1985-2011, published in three volumes. They represent in many respects a rhythm microcosm, challenging for interpreters, edifying for those interested in composition techniques, and fascinating for the audience.
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István Kolonics, born in Szabadka (Subotica), moved to (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 UBB Musica, presents his work in the context of the tradition of organ-building in the 19th century in Transylvania.
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The article brings on again the relationship between the traditional dance (as object of representation) and its representations within the Romanian folklorism, analysis of the valorisation ways of the Romanian traditional dance revealing the underground or surface relations that the dance text has with the ideology, the political instruments and the safeguarding process. Revisiting concepts and specific terms, the analysis tries to recalibrate, where it is necessary, the terminology which serves the mentioned relationship, bringing it into an actuality in which it is necessary the need of an infusion of ethnographic methodology. The result of this approach is the proposal of the concept and the term “dance of ethnographic type” for one type of dance that belongs to the Romanian choreutic folklorism. In addition, the article is a plea for a paradigm change in the ways of valorisation of the traditional dances, a plea per excellentiam for the real professionalization of a field with a significant importance in the Romanian culture and economy.
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