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The well-known violinist Alexandru Tomescu, who for his mastery the Romanian state granted him the privilege of playing the Stradivarius violin (which was previously in the possession of Ion Voicu), gave a concert at the Roman Catholic Church in Ghimeș Făget. The event took place in September 2020 and was part of the Stradivarius Tournament. The main purpose of this concert, for the organization and development of which the young local Damian Pal was involved, was to promote the Ghimeș Valley, an area full of life and traditions.
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This paper deals with studies into the personal archive of the musicologist Ona Narbutienė (1930–2007), including a number of previously unpublished documents. Narbutienė’s musicological heritage, which has been little investigated so far, consists of books, articles, lectures, radio and TV shows, musical evenings, texts for record sleeves and CD inlays as well as the conceptual framework, the programme, and texts for the International Thomas Mann Festival in Nida. Within the context of this heritage, her lessons and lectures stand out for their special role in shaping the views, attitudes, and professional choices of the musicologists of the younger generation. The evidence of all these activities can be found in Narbutienė’s private archive compiled over many years and thus displaying the content of great historical and musicological value. The paper examines Narbutienė’s musicological interests as revealed in her personal correspondence and their relationship to certain professional imperatives. Narrative, interview, historical-analytical, and empirical research methods were employed in this study.
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In the article, the authors have collected and analyzed a corpus of documental witnesses about the history of the Univ Monastery’s music chapel during the 18th century. After analyzing available sources, researchers ascertained it was the first instrumental chapel in the Lviv-Halych-Kamianets eparchy of the Ruthenian Uniate Church (Ecclesia Ruthena unita). The investigators identified the probable founder of the music chapel, defined its functioning peculiarities, and established the number of musicians, the musical instruments on which they played, and partly the musical repertoire.
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Using four examples (H. Purcell’s Ah! Belinda from Dido and Aeneas, Act 1, No. 3; the 3rd movement of W. A. Mozart’s String Quartet K. 421, Menuetto and Trio; F. Mendelssohn-Bartholdy’s Song without Words, Op. 19 No. 1, and Nos. 1 and 3 from W. Lutosławski’s Preludes and Fugue for 13 Solo Strings), the subject of aural analysis is presented here in its practical application and no longer, as in previous articles, in the light of didactics and pedagogy. Selected for their slight difficulty and the variety of their settings, forms, and styles, these four compositions are particularly well-suited to introducing students to this new kind of work, located between aural training and formal analysis.
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Using four examples (H. Purcell’s Ah! Belinda from Dido and Aeneas, Act 1, No. 3; the 3rd movement of W. A. Mozart’s String Quartet K. 421, Menuetto and Trio; F. Mendelssohn-Bartholdy’s Song without Words, Op. 19 No. 1, and Nos. 1 and 3 from W. Lutosławski’s Preludes and Fugue for 13 Solo Strings), the subject of aural analysis is presented here in its practical application and no longer, as in previous articles, in the light of didactics and pedagogy. Selected for their slight difficulty and the variety of their settings, forms, and styles, these four compositions are particularly well-suited to introducing students to this new kind of work, located between aural training and formal analysis.
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A major theme in Adolf Bernhard Marx’s work is the idea that music has sense only to one who “participates” in it. According to Marx, musical Antheil – i.e. participatory belonging-to – is at the foundation of every musical activity, such as composing, performing, or listening (including listening analytically and critically), in its authenticity. The German word “Ant(h)eil” reflects on the participatory nature of this relation – the person or I, who relates to music, “has a part” in music, is fundamentally partial to it. In Marx’s thought, musical Antheil embraces both the spiritual and the sensual part of the person, i.e. it engages the totality of the person. Conversely, music also has an “inner”, spiritual side, its content or Idee, and an “outer”, sensual side, its form. The musical whole is, according to Marx, the unity of musical content and form, which, however, always involves the Antheil of the I to this given whole. Thus, Antheil is a fundamental aspect of musical wholeness itself – it is only within the I, which participates in music and is “partial” to it, that music can be “whole”. Thus, Marx’s account of musical Antheil is arguably a reflection of what in the following text is called musical identification – the living, immediate state of identification between the I and music. Musical identification is a primary condition for understanding musical content and, by extension, musical form. Musical wholeness is not just a characteristic of music itself, but a characteristic of the relation between the I and music.
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A major theme in Adolf Bernhard Marx’s work is the idea that music has sense only to one who “participates” in it. According to Marx, musical Antheil – i.e. participatory belonging-to – is at the foundation of every musical activity, such as composing, performing, or listening (including listening analytically and critically), in its authenticity. The German word “Ant(h)eil” reflects on the participatory nature of this relation – the person or I, who relates to music, “has a part” in music, is fundamentally partial to it. In Marx’s thought, musical Antheil embraces both the spiritual and the sensual part of the person, i.e. it engages the totality of the person. Conversely, music also has an “inner”, spiritual side, its content or Idee, and an “outer”, sensual side, its form. The musical whole is, according to Marx, the unity of musical content and form, which, however, always involves the Antheil of the I to this given whole. Thus, Antheil is a fundamental aspect of musical wholeness itself – it is only within the I, which participates in music and is “partial” to it, that music can be “whole”. Thus, Marx’s account of musical Antheil is arguably a reflection of what in the following text is called musical identification – the living, immediate state of identification between the I and music. Musical identification is a primary condition for understanding musical content and, by extension, musical form. Musical wholeness is not just a characteristic of music itself, but a characteristic of the relation between the I and music.
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The present article is about the influence which the scientific research on phonetics made by Werner Meyer-Eppler and the so called Bonn School of Phonetics exerted upon the theory and practice of composition, in the work of the German avantgardist Karlheinz Stockhausen. Meyer-Eppler had a considerable impact on the formation of Stockhausen as a composer of electronic music, who worked with synthetically generated sound; using phonemes as musical material, and thus inventing a new musical genre, the Sprachkomposition. The Bonn phonetician initiated the installation of the famous electronic studio at the Cologne radio station, which gave the composer the impetus to new conceptions of spatial parameters in music. Meyer-Eppler’s research about the theory of information and communication introduced new ideas and concepts into the art of music, e.g. aleatorics, statistical methods, the informational content of music, and the perception of time in music.
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This study presents the musical manuscript heritage of Rila monastery. This heritage is the largest and the richest one of neumated manuscripts in Bulgaria. The manuscripts are more than one hundred in number. They are from the 18th and 19th centuries, a period that is known as the National Revival. It is stressed that the Rila musical manuscripts represent an organic collection: they were written, collected and incorporated for the liturgical needs of the monastery, so they are part of its historical memory today. According to these manuscripts, we can reconstruct both the spiritual life in the Rila monastery, and the processes of Orthodox music development in the Balkans. Up to the 1840s, church music in Bulgaria was the only field of music with a richly documented written (notated) tradition: secular music has not been known in written format until that time, and the whole field of notated music is fully represented by the Rila musical manuscripts. It is already well known that the great number of Rila musical manuscripts testify to the existence of a large and significant singing school at the monastery, and consequently, to a large scriptorium there. Moreover, according to the manuscripts studied, this school was among the largest such schools in the Balkans. The names of the first whole generation of Bulgarian men of letters involved in music as composers, writers, copyists, and singers become known. The most distinguished among this generation are the Metropolitan Seraphim of Bosnia and Hieromonk Joasaph – pro-abbot of Rila. Joasaph’s name is among the leading authors in Balkan Orthodox music of his time. After the adoption of the New method of church music, musical activities in the monastery were taken on by the second generation of spiritual leaders around Father Neophyte of Rila. This generation was in charge of translating the entire chant repertory from the former notation into the New method one, and of creating the entire annual liturgical cycle in Slavic. The study of Rila musical manuscripts shows that the Rila monks knew the church chant theory and practice in detail: they knew precisely the intonation fund and the modal organization of the whole repertory they worked with.
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On the example of a number of composers’ approaches to the keyboard concerto that are emblematic for their respective epochs, the present study traces the historical tendencies in the concept of this particular type of the solo concerto genre: the first steps toward its keyboard realisation; the changes in the way composers interpret the keyboard sound and in the preferences which keyboard instrument to use; the types of compositional strategies both in terms of architectonic and in the interpretation of the role of the soloist and especially the latter’s interaction with the orchestra; the treatment of the keyboard concerto as a means of showcasing brilliant virtuosity regardless of the specific type of solo keyboard instrument involved – the harpsichord and the prototypes of the modern piano in the Bach family, the harpsichord and organ in Handel, the piano in the composers of the Classical and the subsequent periods; questioning our understanding of the genre and the capitulation of the clavier virtuosity in the second half of the last century.
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This article is focused on Plato’s conception of music and the role of music in education, mainly in reference to two of his later works, namely Republic and Laws. In Republic Plato refers to the views of Damon concerning the upbringing power of music. Music is capable of tuning the temper of, or attuning, the person and the community. Therefore, music is suitable for the good upbringing, beginning at the early childhood. Even before the reasoning ability of a child is developed, music can teach and nurture it to differentiate right from wrong, beautiful from ugly. In Republic music is (only) a tool (albeit a very powerful one) for the upbringing of a person (whether a child, a juvenile, or an adult), that should recede once the person learns to contemplate the intelligible world and ideas, and thus – the person could break away (mentally) from the sensible perceptible world. But in his last dialogue– Laws, Plato reassesses the project laid down in Republic in view of the necessity to substantiate not only the best possible city, but more so – the best attainable city, the best city in practice. Through that reassessment, music is being “immensely elevated” from its former tool-like educational status only, to a- or even the foundation of education and joint living in the city.
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One’s native musical idiom is of great importance for the growth and development of a child. However, despite the frequent mention of this concept in the methodological literature, we cannot find it clearly defined anywhere. Therefore, in this study, we first defined the native musical idiom through a multidisciplinary approach, then we pointed out its role in the development of the ability to perceive (the melody, harmony and rhythm), the acquisition of songs, rhythmic abilities and music memory, and then emphasized its role in the acquisition of new music material. The ultimate goal of this study is to indicate the necessity of establishing beginner music education classes in elementary schools (first and second grade) on material which represents the native musical idiom of the environment in which a child is growing up.
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