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More than a hundred years have passed since the birth of Evgenia Revzo (1915 — 2011), but the memory of her personality as an excellent teacher and a person is still alive. Why is she so memorable to her students and those who knew her? Working at the Department of Special Piano of the Institute of Arts, E.Revzo managed to unite her students into a single class, the so-called Revzo-School. E.Revzo`s pedagogy was greatly influenced by her teachers, who were the bearers of the best traditions of the European clavier school. The author presents some historical facts of the formation of clavier schools in France and Italy that are related to the biography of E. Revzo. In memory of the great teacher, in the article are included some letters written by E.Revzo to one of her students, where the teacher`s humanism and sensitivity to her students are clearly seen.
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The concept of „social” space was developed by the American anthropologist E. Hall in the work„Hidden Dimension”, implying a distance from 120 cm to 3 m, typical of official communication. The purpose of the study of social space in music is to identify the principles of the organization of social spacein a small group that contribute to the processes of semantic formation. In the organization of interaction of participants of a small group in music, manifestations of synchronicity and symmetry which are indicatorsof action of the General principle — convergence — are established; (from Lat. converge-approach,converge) — contrasting comparison of musical themes, and then their convergence and harmoniousfusion. The result of the use of convergence by composers in opuses is associated with the identification ofa General category of meaning — for example, „terror”, „love”, „peace” and others, for which the gradual display of inner kinship between contrasting principles is carried out.
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In the present article the Odessa Italian opera has been examined as an object of the influence of the “golden youth’s” value orientations and behaviour patterns that were being formed in the social and theatrical environment of that city in the 60s of the 19th century. The changes in the younger generation’s artistic tastes, selective divas’ image perception have been shown onthe examples of its interaction with other spectators, performers, the entrepreneur, local police and administrative authorities.The crisis in the vocal and performing arts has been proven to be in close dependence with a total spiritual and social turning-point in the Russian Empire at the beginning of the era of democratic reforms.
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The author of the article examines piano works dedicated to children written by Moldovan composers from the point ofview of their use in the piano educational practice as children’s cycles (albums and suites consisting of piano miniatures). Formany Moldovan composers (L. Gurov, S. Lobel, v. Rotaru, Z. Tkach, A. Mulyar, B. Dubossarsky, O. Negrutsa, G. Ciobanu,etc.) the work on piano miniatures was a kind of «creative laboratory» that preceded the appearance of larger works — suites,sonatas, concertos, symphonies, etc. The priorities in the children’s piano works of Moldovan authors are contrasting in style: slow lyrical pieces (Lullaby, Doina,Prelude, Song, Poem, etc.) and mobile miniatures (Jock, Batuta, Ostinato, Comic, Scherzo, etc.) with dance or scherzo-humor character. These plays can greatly enrich the repertoire of children’s music schools and lyceums, as they are distinguished by Moldovan color, national and genre properties, peculiarity of the figurative-emotional system and the certainty of technical tasks.
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We find Romanian theater germs in specific popular forms: the Herods, the outlaws (the Jians), the peasant wedding orthe play of dolls, the Calusari or the Drăgaica fair. The first expressions of Romanian cult music went to the field of theater. The vaudeville was affirmed in the first half of the 19th century, and in the second half the center of interest moved in the direction of operetta and musical comedy. The birth certificate of Romanian opera was signed by Eduard Caudella with his historical opera called „Petru Rareş”. At the beginning of the 20th century different stylistic orientations combined with masterful transfigurations of Romanian folklore, the moment of synthesis of the genre being represented by the lyric tragedy „Oedip”, the masterpiece of George Enescu.
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In the early 15th century, a significant era in the formation of contemporary Turkish musical systems, Abd al-Qādir al-Marāghī's books, especially Maqāṣid al-alḥān occupy an important place. Many subjects like the creation of musical sound and its characteristic, showing the notes by using abjad letters, intervals, quartets, fivefolds, maqāms, awāzās and shubes are detailed and explained clearly in these theory books written on Turkish Music. In his book, Marāghī has elaborated the basics as well as the notes which compose the melodic structures, intervals, quartets, fivefolds, awāzās shubes and the well-known maqāms used in his time. For every note in the melodic structures of all these maqams, Marāghī uses abjad letters, sometimes cent values to emphasize the intervals. By this method he reflects some clues about the modal conception of his century. Being a composer and a theorist, in his book Marāghī also discusses his predecessor’s approaches on the theory of the musical sound system and helps us understand their consistency in modal understanding correctly.
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The aim of the article is to prove that the Dead Man soundtrack written by Neil Young plays an essential part in understanding and interpreting Jim Jarmusch’s film. The author of the article highlights the meaningful role of Dead Man in the director’s oeuvre, analyses the film’s structure, examines the process of recording the soundtrack as well as characterizes the selected scenes. He singles out the music motifs, their functions, and outlines the musical and dramatic effect of the film.
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At the end of May 1840 Robert Schumann composed 20 songs from Heine’s Lyrisches Intermezzo under the title 20 Lieder und Gesänge aus dem Lyrischen Intermezzo. The se- ries was published in 1844, containing only 16 songs and was entitled as Dichterliebe. The four omitted songs were also published later on – but what was the reason for omitting them? We can perhaps never come to know that, though we are able to find possible an- swers, revising the cycle of the poems and the music itself. The “evidences” could be the following:– The selection: reduce the 1+ 65 poems to 20 (and at last 16) songs.– The attenuation of the “death atmosphere”.– The concentration of the “dream poems” to the end of the cycle.– The diminution of the power of “chivalric love”.– And finally: improving the tonal structure.Schumann could really take into consideration this important structural aspect in the last stage of his work: the well-known Dichterliebe might have been realized in this wa
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