Peachum, Lucy, Penge Mackie
Essay on music by Tamás Jakabffy: "Peachum, Lucy, Penge Mackie".
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Essay on music by Tamás Jakabffy: "Peachum, Lucy, Penge Mackie".
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Tamás Jakabffy's essay on music: "Egy az újrafelfedezettek közül".
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At the end of the 19th century, when both philosophers and artists began to be concerned about studying feelings, people's states of mind, exposing them in their own works, a new science emerged, called Psychoanalysis. If, in the field of philosophy and psychology, the road opener in the elaboration of the theories on the study of psychoanalysis was S. Freud, regarding the art of music, the feelings and mankind moods have already been presented in Baroque and Classicism, by innovators of new genres and musical concepts such as Vivaldi, Porpora, Haendel, J. S. Bach, Gluck, Haydn. These themes will be fructified and amplified in the stylistic and aesthetic eras that will follow: Romanticism, Postromanticism, Impressionism, Symbolism, Expressionism, 20th Century Music, along with the evolution of music, musical language, through the vast creation of famous composers such as Donizetti, R. Strauss, M. P. Musorgsky, Brahms, Mahler, Ceaikovski, Skriabin, Debussy, Ravel, Schonberg, Berg, Webern, Bartok. The relationship between the art of music and psychoanalysis as a science is based on several elements of real importance. The most eloquent ties are the means of artistic expression of music, more precisely its components and rhetorical formations).
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Considered one of the oldest musical instruments on the globe, the naiul surprises with a complex evolution. In the second half of the 20th century, this "divine" instrument, as Gheorghe Zamfir calls it, became the messenger of the Romanian spirit, a banner of Romanianism, a way of representing Romania through sound. The origin may be lost in the mists of time, but those who gave it life and united their breath with it, remained in the history of world music. I liked to consider Anghelus Dinicu, the composer of the famous song "Ciocârlia", a work that closes the folklore concerts of popular orchestras but also the recitals of some followers of the naiului cult, priest of a temple where the sacerdotal robe is the Romanian folk costume.
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Music is a universal language and the world of childhood and musical sounds are in a permanent symbiosis. Children always sing, at playgrounds, when they are happy, when they want to express an idea. A way of externalizing their feelings is, most of the time, vocal singing. The present paper wants to reinforce this idea but also presents some principles of music education systems, established worldwide, regarding the use of children's folklore for the formation of children's musical skills. In addition, the presentation of traditional songs for children, from different corners of the world, highlights the fact that the language barrier can be invisible in the children's world, thanks to a strong dimension existing in the song, namely, music.
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The vocation of a successful school is to make education an endeavor oriented towards excellence, towards shaping the human being in the spirit of intellectual, moral, aesthetic and cultural values. That is why every year Ion Vidu High School experiences the emotion of competitions as a form of dialogue in the field of artistic education. Students who have already passed important and tense stages in deciphering and accumulating new repertoire, qualify at the level of a competition first of all with themselves and then with other students who are passionate about art.
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The complexity of running a music education institution in a decentralized educational context is undeniable. This determines an approach to a high-performing management at the level of school governance that will enable the institution to maintain its pedagogical value in the specialized field and, at the same time, create a favorable framework for exploring new opportunities in the field of specialized music education of secondary education. By promoting the modern leadership style of management and participative leadership, integrated music education has the possibility of improving educational policies, leadership style into a successful one and a solid organizational culture based on effective communication. This article presents their particularities and benefits that can be used to support the leaders of musical-artistic educational institutions in an integrated system.
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Sigismund Toduță occupies an important place in Romanian musical culture, being a well-known and appreciated composer, musicologist and teacher. His compositional legacy includes valuable works in all musical genres, including 8 sonatas for various instruments. The two sonatas for flute and piano analyzed in this article were written about 30 years apart; the cycles denote both similarities and fairly obvious differences, marking belonging to different periods of the composer's creation.
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The name of the Scarlatti family has known various ways of writing, being noted in the registers of the time as "Scarlata, Sgarlata", a name considered common in the area of Sicily, an important area in terms of family genealogy at the beginning of the 18th century. The oldest document attests that Pietro Scarlatti, father of Alessandro Scarlatti, married Eleonora d'Amato in 1658 in Palermo. Although there are no precise dates, it seems that this was the family lineage of the composer Vincentius Amatus, maestro di cappella at the Palermo Cathedral. Of the eight children he had, five were well-known musicians, a similar situation in the case of his son, Alessandro Scarlatti who had ten children, two of whom become musicians and one of the girls, Flaminia, becomes a singer who only works in circles elevated.
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In this article, the first part of the Schubertian vocal cycle Winterreise is analyzed: interpretative recommendations are proposed for overcoming the difficulties as a whole. The elaboration of the artistic concept of interpretation, the interaction between two components – poetic and musical, the relationship between two parts: vocal and instrumental, the types of fabric of the ensemble, the development of the partner qualities of both members are discussed. It is concluded that the vocal part in Winterreise is the basic carrier of the concrete meaning of the words, but the piano part plays the role not only of supporting the voice, but is also a significant constructive component of the creation. The accompaniment is important from the point of view of the harmonic and thematic processes of the cycle. The elements of instrumental figurativeness give the music visibility and tangible reality. The material of the article can be used as a methodological support in academic disciplines such as Lied and Concert Mastery. This work may also be useful to performers interested in chamber vocal ensemble issues.
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The question of who is a musicus is formulated by Boethius in De institutione musica. He, however, is not the first who clarified what the concept of musicus stands for. Plato and after him Aristoxenus gave their explanations about the requirements that a person worthy of the title “musicus” should meet. These requirements show significant differences one to another as well as to the ones outlined by the music theorists after Boethius. The present study is an attempt to 1) bring forward the constant core around which the concept of musicus is build (namely reason as an idea and value); 2) trace the changes that took place in the content of this concept through history up to the time when it recedes into the past; and 3) detect hidden resources in this same history that allow for reason to act in a way different to the one described by musicuses themselves in their writings.
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Dimiter Christoff’s creativity spans various genres and has been extensively studied in monographic works that have garnered numerous critical reflections. One significant focus of research centers on the composer’s vocal music, which encompasses cycles of solo and choral songs – a testament to the author’s penchant for large-scale forms. In his solo vocal compositions, Christoff frequently draws inspiration from the works of eminent Bulgarian poets. “Easter” (nine songs for soprano and piano with lyrics by Kiril Hristov composed in 2003) is the composer’s last vocal work. This article provides an in-depth analysis of the created cycle by exploring specific stylistic features, such as the composer’s approach to selecting verses from literary sources, rhythmic organization, phrase structure, melodic and harmonic arrangement, polyphony, as well as the dynamic interaction between the voice and the instrument. The research is also based on insights from personal conversations and interviews with the composer. Several noteworthy aspects of Dimiter Christoff’s creative process have come to light in this study, including his innovative use of eighth-note values within 1/8 and 1/4 meters, the incorporation of clusters, the horizontally moving counterpoint lines, the seamless integration of vocal and piano elements, plus the distinctive whole notes adorned with fermatas at the conclusion of phrases. Additionally, Christoff’s thesis on shaping style through a framework of laws, rules, and strategies has been presented.
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Dimiter Christoff is one of Bulgaria’s foremost contemporary composers. In this text, I share data, observations, and conversations with him that were conducted in connection with my role as a conductor during the performance of three of his works in celebration of his 80th birthday in 2013. These compositions include “Wait for Your Pizzicati” for string orchestra (1994), “Concert Variations “Eroica” (based on a theme by Beethoven) for piano and string orchestra (2004), and “I Bow Down” for solo cello and string orchestra. “Wait for Your Pizzicati” does have bar lines, which only disappear at certain moments. This piece was composed nearly a decade earlier when Christoff’s compositional style was “clearer” and the work, for the most part, utilizes more conventional approaches. Drawing from observations of ensemble performances that feature music without bar lines from the 20th and 21st centuries, I engaged in conversations with Dimiter Christoff, during which he provided insights into his creative intentions, interpretations, and expectations from performers. Christoff consciously sought greater freedom for soloists and the orchestra through innovative notations in his scores. In this summary, I delve into both common and specific symbols used in each of these works and provide commentary on the specificities involved in preparing and performing them.
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The international festival “Sofia Music Weeks” was founded in 1970 to introduce the capital city’s audience to a broad spectrum of artistic achievements, encompassing both renowned masterpieces and lesser-known or entirely obscure compositions, including such by Bulgarian composers. The festival stage featured a remarkable diversity of both Bulgarian and foreign premieres that spanned across the entire spectrum of musical genres. These premieres ranged from shorter forms (such as solo and choral songs plus instrumental miniatures) to grand symphonic compositions, cantatas, oratorios, operas, musicals, ballets, contemporary dance theatre performances, innovative synthetic compositions, and crossover projects. This text focuses on significant samples from the Bulgarian premiere repertoire featured on “Sofia Music Weeks” posters after 1978. These compositions are examined chronologically, i.e. in the order of their first performances, as they left an indelible mark on Bulgarian musical culture. Approximately 20 carefully selected works representing diverse genres and stylistic categories made their concert debuts at “Sofia Music Weeks.” These works vividly illustrate the diversity of the festival’s repertoire, consisting of premieres, albeit not exclusively newly-created works, and showcasing a wide range of premiere types featured in the presentation.
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The study examines the stylistic method of teaching harmony in Harmonielehre (1976) by Diether de la Motte – the first German theorist who realizes such a method in textbook on harmony, thus considerably contributing to development of historical approach in the area of music theory. Its purpose is to reveal both the basic mechanisms of functioning of this method and the significance of De la Motte’s work in the history of music theory. The first part sets the question of whether “Harmonielehre” by Diether de la Motte is indeed a Harmonielehre. A comparison between this work and traditional textbooks on harmony written in German displays a “softening” of harden characteristics of the genre Harmonielehre or their replacing with new ones. An analogy between music-theoretical and musical genre definiteness is searched for as well. In this sense, the textbook by Diether de la Motte (if Dahlhaus can be paraphrased) is representative for “the new music theory and the problem of music-theoretical genres”. The second part of the study considers the relationship of historicity – systematicity in the textbook. The historicity is manifested in two basic ways: 1) in a way of “stamping” a given historical state (as a language of the time or an individual language); 2) in a way of tracing historical processes (in relation to Tonalität; the relationship of consonance – dissonance; stylistic examination of harmonic structures with a view to the time in which they enter into practice, with a view to the changeability in their use as well as their own changeability). Systematicity, which is a harden characteristic of the normative Harmonielehren, is not crossed out by Diether de la Motte and at the same time it is to him neither an end in itself nor something universal and over-historical, but rather forms a secondary level that is subordinated to the historical one. Concerning a textbook on harmony, this is a new type systematicity that is conditioned in a concrete historical way and limited to its real historical validity. The third part is devoted to the role of the act of hearing in a stylistic music-theoretical teaching. In this part, the comparison is already not between the traditional Harmonielehren and “Harmonielehre” by Diether de la Motte, but rather between a generalized model of the traditional teaching of harmony and a similarly generalized model of teaching, coming from the act of hearing, which model steps on ideas of Diether de la Motte.
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The new book by Snezhina Vrangova-Petkovа (music theorist and teacher) is a serious study in the field of music theory with a contribution to the methodology of teaching the academic discipline of music analysis. The book presents a comprehensive analytical model that is convincingly and consistently introduced, logically substantiated, and illustrated with appropriate notational examples. The author presents a strategy for analyzing phenomena of structural-functional ambiguity by creating an analytical model. This model is optimal and adequate for the structural and functional polyvalence of the period and the song forms based on it as well as for the resulting conceptual problems in the identifications, designations, and theoretical interpretations of similar phenomena. The first chapter of the book examines “the terms period and phrase in the systematic categorization of musicology” in the dynamics of historical time. The second chapter is devoted to structural-functional ambiguity in song forms. The third chapter is an original detailed analysis of the miniature form in Bagatelles op. 119, Nos. 7 – 11 by Beethoven. The book also makes a valuable contribution in terms of the applicability of its principles to the formal-structural study of musical creativity from various periods.
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The publication “The Active Study Dictionary of Conducting Termino-logy” is the first of its kind in our country. Its immediate addressees are students from the speciality of conducting (both choral and orchestral) as well as students who study conducting in music-pedagogical and music-theoretical fields. However, the scope of prospective readers and users is much broader. The highly informative preface presents the conception of the conductor’s terminological apparatus by typologizing the lexical sources of conducting terminology in terms of: a) commonly used vocabulary; b) general music theory vocabulary; and c) narrowly specialized vocabulary. At the same time, the conductor’s terminological apparatus has been classified on the basis of functional criteria of non-verbal and verbal communication. The dictionary includes about 250 concepts, which all together activate an informative field of a wide historical range woven from the meaning-based trajectories of the genres included, the cultural practices, institutional structures, compositional techniques, musical language, notations, executive methods, as well as the components and characteristics of the conductor’s semiotic system. Tsvetelina Slavova’s work highlights the growing need for thematically oriented terminological dictionaries in the respective fields of expertise.
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