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Pascal Bentoiu’s work provides examples of the various degrees of concreteness inthe correspondence between idea and language/sonority/musical discourse, coming not only fromgenres of artistic syncretism, like lieder or opera. The symphonic and chamber works are declared tohave sui generis relationships with extra-musical worlds, either the sibling arts (Symphonies no. VI,VII, VIII) or reflections on the creative ego (Symphonies I-V, Quartets op. 27). Focusing on the lattercycle, I will be formulating a few possible embodiments in sound matter and temporal dramaturgy ofthe intentions the author confessed to in the foreword of the score; the four quartets op. 27 areprogrammed to be “prospecting the composer’s tendencies, […] with a view to the mainpsychological functions, as defined in modern psychology: sensation, feeling, thought, intuition”. Onanalysing the scores, we also discover a quality of total compositional study coming through the widerange of combinational possibilies of every creative technique and parameter: defining modalstructures, categorically differentiated, widely varying instrumental sonorities moving between thesomber/classical and the complex of contemporary effects, plurivocal syntaxes covering the entirerange of writing for the quartet, dynamic formal architectures and macro-forms of the genredisplaying obvious symbolism.
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Le présent ouvrage approfondit les principales coordonnées de la création dugrand compositeur roumain Aurel Stroe, dans tous les domaines de la composition où il a activé.Nous proposons une synthèse de ses principaux paradigmes créateurs, avec des exemples etapplications concrètes, en soulignant aussi les liaisons entre les textes et les concepts musicologiquesde cet auteur, concepts très peu connus, même s’ils sont très originaux
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Of the nonverbal symbolic codes, the musical one is the most fascinating because ofthe ineffable quality intrinsic to the sound phenomenon. Appealing to the archetypal, the composerDoina Rotaru articulates in a quite ingenious manner three of the fundamental symbols convergent tothe idea of ascension/transcendence: light, wing and flight. Thus, the matter transformed into musicalmetaphor under the title Wings of Light takes the form of a sound accumulation of the ‘mass’ type,where the overall effect is conceived/perceived from the perspective of an original texture.
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The entrance of jazz in the academic music constituted a challenge for allcomposers interested in this aspect. After George Gershwin’s success with “Rhapsody in blue”, thetendency to introduce entertaining elements in academic works amplified in European culturesthrough Sostakovici, Stravinski or Honneger, and in Romania through Dumitru Bughici, PascalB,Dumitru Capoianu, Richard Oschanitzy. Pascal Bentoiu flirted with jazz which he did not hesitate tointroduce in his creations. One of his representative works in this sense is the 2nd Symphony op. 20from 1974, whose incipit may be comparable from the point of view of accessibility and soundprofoundness to similar fragments from Rhapsody in blue or the 5th Symphony of Beethoven. The workI suggest also presents the composer’s point of view who, by introducing subtly entertaining elements,may sometimes create difficulties in interpretation to the symphonic orchestra of classical style whichthe Symphony is intended for.
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Teoria muzicii psaltice postchrysantice a oferit în ultimele două sute de ani maimulte variante de intonaţie a scărilor muzicale, provenite din diferite sisteme de măsurare şi decalcul. Tendinţe contemporane de interpretare muzicală îşi propun să normeze cântarea, prinfolosirea instrumentului muzical. Dar, intonaţia netemperată a dominat secole de-a rândul în lipsaunor instrumente de măsură şi de normare instrumentală a intonaţiei, totul în cadrul unei practicimuzical-vocale, de factură preponderent orale. Prezentul studiu încercă să diferenţieze şi ierarhizezeprincipiile structurale în ehurile bizantine. În final, parcurgem drumul invers, de la cântarea practicăla teorie, de la fenomen la normă, în încercarea de a verifica în mod experimental validitateadiferitelor sisteme teoretice şi de a propune noi modele de înţelegere a intonaţiei diferitelor scărimuzicale psaltice. Între metodele utilizate, folosim analiza spectrografică computerizată, care esteaplicată asupra înregistrărilor sonore individuale
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Una dintre principalele caracteristici ale muzicii folclorice, oralitatea, care adominat şi în ciuda influenţelor occidentale ale culturii scrise, încă mai domină practica muziciibisericeşti bănăţene, face ca aceasta să fie puternic dominată de construcţii modale imprimate înci’onstrucţia meldocii populare. Ne referim în rândurile următoare, prin exemple concrete regăsite înpractica interpreţilor din partea românească şi sârbească a Banatului, la evidentele pătrunderifolclorice în modalitatea de origine bizantină.
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The research suggests a point of view over the music phenomenon in the presentdays, reported to the new technological means of communication such as Internet, that has beenoutlined by the informational society as successor of the industrial culture. The step fromreproduction to virtual reality is translated, in music, through a new phase. The broadcastedsoundtracks or LP, CD etc. recordings are gradually substituted by Internet radio or the digitalarchives. The International Network which connects the entire world today, becomes the new stage ofthe music phenomenon.
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In 2001, the musicologist Dora Maria David, from the Iaşi Radio Studio, madean impressive broadcasting series of interviews with Professor Mihail Cozmei, dedicated to theIaşi Philharmonic Society. Afterwards, she recorded them on 16 CDs, now existing in thearchives of both Radio Iaşi and Philharmonic Society. We submit in the next approach, with theauthor’s approval, genuine and memorable excerpts from these interviews, wishing to honour theIaşi Philharmonic Society’s 70th Anniversary. The historical events mentioned here are thefollowing: George Enescu in Iaşi – the concert season 1917-1918; the foundation of”Moldova”Philharmonic Society, in 1942, by the contribution of Professor Radu Constantinescu, togetherwith a group of musicians and music lovers from Iaşi; Ion Baciu period, national andinternational launching of the Philharmonic; great artists and their relationship with the IaşiPhilharmonic Society.
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Începând cu Pierrot lunaire a lui Schönberg şi până la Pulcinella de Stravinskidrumul parcurs de arta muzicală la începutul de secol 20 este atât de divers precum figurabufonului însăşi. Bufonii, nebunii şi clovnii se manifestă, de regulă, într-un mod neaşteptat, suntplini de surprize, reflectând, în aparenţă, greşit asupra lumii înconjurătoare. Ei sunt acei intruşi,care tulbură convenţiile, ordinea lucrurilor, ne fac să râdem de ei, de alţii şi chiar de noi înşine.Comunicarea noastră urmăreşte prezentarea diferitelor tipuri de bufoni, prin prisma unorcontexte emoţionale diferite: de la somnambulismul unei dragoste neîmplinite până la suferinţacauzată de o situaţie decisivă. La nivelul analizelor, vom evidenţia aspectele istorico -structuraleşi estetico-semantice ale acestor manifestări, ca expresii ale unui sistem simbolic şi semanticcomplex. Investigând climatul afectiv şi contextul socio-uman în care bufonul apare de regulă,putem constata, că această figură grăieşte despre neputinţa umană, indivi duală şi colectivădeopotrivă. Această neputinţă conduce la expresii artistice situate în zona grotescului (fărăperspectiva unor desăvârşiri în direcţia frumosului), cât şi la metamorfoze ireversibile,direcţionate spre conflictele cele mai variate.
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Mediul parizian de la răscrucea secolelor 19-20, în care s-a format Debussy şiRavel, a devenit un adevărat focar al preocupărilor artistice, atât în privinţa atragerii unuinumăr semnificativ de artişti de valoare din toată Europa, cât şi în cel al desch iderii spre celemai diferite culturi. Exotismul, a cărui prezenţă în creaţia muzicală europeană datează încă dinsecolul al 17-ea, a căpătat în componistica franceză din această perioadă un rol, care tindea pealocuri să depăşească statutul de curiozitate. Una dintre sursele majore ale influenţelor exoticedin creaţia lui Debussy şi Ravel a fost cu certitudine etosul spaniol. Medierile cu această culturăau fost înlesnite de Expoziţiile Mondiale, de compoziţiile de sorginte iberică ale unor compozitorifrancezi ca George Bizet sau Emmanuel Chabrier, precum şi prin prezenţa unor muzicienispanioli importanţi ai vremii (de exemplu Manuel de Falla) în cercurile artistice pariziene.Comunicarea urmăreşte atât surprinderea contextualităţii artistice, care a alim entat preocupărilepentru etosul spaniol, cât şi identificarea multiplelor aspecte ale acestei influenţe pe planullimbajului muzical din creaţia lui Debussy şi Ravel.
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The article deals with the therapeutic value of singing – a form of educationaltherapeuticactivity organization regarding the active method of musical therapy – in rehabilitatingand socializing with children between 6 and 13 years old who suffer (or don’t) from various diseases,some not no complicated disabilities or behavioral disorders.
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Oftentimes, musical composition follows a predeterminate generative mechanismthat takes the shape of an algorithm or matrix having the potential of strategic, macrotemporalcoverage. In the Concerto for String Orchestra (Concertul pentru orchestră de coarde), the composerRemus Georgescu achieves a remarkable feat of composition, generating the entire musical discoursebased on the exclusive input of a structure mode whose “placement in time” accurately reflects aseries of laborious and refined palindromic symmetries
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Overtaken with the tide of social reform, we may think about putting on shows of any nature that could bring about substantial financial gain and we neglect the esthetics of the gift that the artist should impart on the public. In spite of all, in my discussions with spectators, I have talked to people who worry about theatre “ modernism” and who can rarely find quality shows in the performance outline of theatres in Bucharest , for the most part. The majority of theatre-going individuals are well-educated intelligent people who have given their open and honest view on their relationship to art, surprisingly profound ones.The idea that we put on commercial shows to satisfy a demand in the public carries in itself a commercial aim and holds no relevance for the above mentioned spectator category: loyal spectators. The general public, target for many pseudo-festivals of theatre is largely made out of occasional spectators who can rarely step out of the box of television watching and who end up in a theatre hall to have fun, under the influence of these subcultural television shows they watch.If contemporary theatre productions are in competition with television shows, there is a fear that in a few years’ time we could end up seeing culinary or publicity performances put on stage. All because it is said that this would be the demand in the general public.One of the painful conclusions I have come to is that some theatre directors or producers are interested solely in earning as much money as possible, investing as little as possible in actors and spending huge amounts of cash in props while giving life on stage to plays taken from the universal drama pool, many of them of a questionable quality.I would suggest the establishment of a union for the audience in each theatre in the country, where people of varied social categories and ages who are interested in theatre and fond of it could be coopted and62consulted in the choice of repertoire. I would wish the union had at least one member who is a theatre college student, a high-school student member, a scientist, a psychologist and an art-therapist. No theatre professionals, directors, press critics or any people employed in any artistic area of the theatre are to be accepted as members. Also I would wish the union to have a saying in the casting of actors in plays. Castings should not be made behind closed doors, in the director’s office, but in an open audition that gives participants equal chances.The actor-artist comes out on stage to perform a piece, then to go back to being part of the audience, spectator and actor of daily life. Likewise, the spectator is part of the audience present at the theatre, then to become himself an actor on the stage of social life. We play both parts, each and every one of us!“The cultural atmosphere of a country is the spirit that society breathes in. The large public does not carry the necessary discerning ability to choose from the pile that assaults the nobility and beauty of superior art. Triviality and pornography instinctively draw out bad tendencies. In the face of society, the artist is responsible much like the priest is. Much more than so , for the gift bestowed upon him is larger…”
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