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We have witnessed the most accurate artistic expression of the religious feelings, namely the deepest type of love “which never falls away”, God’s love for His creatures. Most of the musicians dared to express their love for God artistically, by means of musical masterpieces, but not every composer could define himself as a creative witness of this very personal and uncovered aspect.
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The Oedipus Rex theatre performance music lies within the specific genre frame, which comprises the endless human voice nuances, getting them harmoniously together to an electronically generated timbral palette, the latter having as a source, in effect as well as conceptually, the 44Hz generating frequency. Exceptionally described and exemplified by Gustav Rene Hocke (1977), the mannerist construction and deconstruction techniques – the magic letter, the cipher, the magic square, the cabala artifact, the ars combinatorial, etc. – marks the departure point, out of which, gradually, the main idea of the compositional excurse contoured: updating the utopian language theme
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Regarding the advantages of the online publishing, it is useful for the musicologist contributors to consider its particularities: the contributing modalities, the readership, and the publication genres of such enterprises. This paper presents a systematic of these items, combining various criteria and sketching some psycho-sociological elements, highlighting the importance of a professional, prospective, and accessible thinking
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Unlike other Romanian traditions, the funeral ceremony and the beliefs woven around it have changed little in time and have been preserved almost unchanged. The third stage of the funeral rite – the integration in the world of the dead and the resetting of the social balance broken after the departure of the deceased – generates a whole series of customs according to the Romanian popular beliefs concerning the funeral ceremony: the daily prayers during 40 days (pomenirea), the daily alms during 40 mornings (dimineţile), the delivery of water (căratul apei), the saying goodbye to the soul at the water (datul drumului apei) (6 weeks after the moment of death), this last custom symbolizing the final departure of the soul of the deceased person and a first moment of reestablishment of the social balance (the renunciation to the black veil hung over the door of the house, the renunciation to the black clothes of mourning, the shaving of the beard worn by men) and a resuming of the usual daily life.
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„What is then the common chapter of language??? of Wagnerian music and the music-criticism by Péterfy?” Jenő Péterfy (1850-1899) is one of the most important figures of Hungarian history of criticism. The present writing analyses the collection of his musical-critical works, focusing in the first place on his interpretations of Wagner, that is, his writings created at the 1889 Pest premiers of The Treasure of the Rhine and the Walküren.
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The text is a very personal reflection on the person of the great scientist, prof. Adolf Dygacz. The author presents a vivid reminiscence from the perspective of their long-term artistic and professional collaboration, and friendly relations with the Professor. The numerous examples of their joined artistic activities demonstrated in the text point out to a very close relationship and cordiality, and the author’s great respect for the talent of prof. Dygacz. A philosophical reflection on the fact of passing permeates the text.
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Purpose of the research. The historical significance of J. N. Нummel’s heritage as the systemic integrity goes beyond the limits of its artistic epoch J. N. Нummel's "Guidance" for playing the piano-forte (1828) was highly praised for criticism of that time. Later, J. N. Нummel's work "fell out" from the musical and pedagogical context, it was ceased to interest pianists and teachers as a source of teaching methods of playing the piano. In the name of clarifying the essence of the historical situation, it seems necessary to form a modern assessment of the methodological work of J. N. Нummel as a possible precondition for the introduction of its provisions and principles in the context of modern piano pedagogy. Thus, the purpose of the study is to study the assessments and judgments of scientists of the late XIX century, concern- ing the theoretical and practical aspects of the "Guidance" for playing piano-forte by J. N. Нummel. Methodology. The methods of the research are determined by the task of comprehensive study of Нummel’s pedagogical work, so the research is based on the principle of historicism, axiological research method, as well as methods of systematization and generalization. The scientific novelty of the research is conditioned by the necessity, in the interests of the development of modern piano art, an objective study of J. N. Нummel's "Guidance" from the point of establishing its significance in the context of the first third of the XX century as well as the prospects for its introduction into piano pedagogy of our days. Сonclusions. In his "School" J. N. Нummel synthesized significant "events" of the half-century piano history and scientifically determined prediction (foresight) of the future instrument. Estimates of his contemporaries are contradictory, nevertheless, H. Riemann designated his work – "The Great Piano School", R. Genicka ascribes a prognostic function to his work. It allows putting forward a hypothesis, concerning the fact that J. N. Нummel's work has not lost relevance yet, and it is advisable to introduce its materials in the pedagogical practice of modernity.
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The concept of the "cabaretesque" grows from my work as both an ethnomusicologist and the artistic director of the cabaret ensemble, The New Budapest Orpheum Society. I employ the cabaretesque theoretically in this paper to examine the ways in which diverse musical repertories from the Eastern Europe cohere in ways that allow us to rethink the ways in which music and geography interact to narrate modern history. Critical to the perspectives opened by theories of the cabaretesque are the musical juxtapositions of lived-in worlds on the stage, turning them inside-out. The boundaries between audience and performer – symbolically between actors and agents in history – blur and disappear. Musical performance becomes a mirror for historical action. Cabaretesque musical repertories are particularly abundant across Eastern Europe. Metaphor emerges from musical border, for example, in the caesurae that form the hemistiches in Balkan epic. The borders of empire – Ottoman, Austro-Hungarian, Russian – have divided musical genres during the longue durée of encounter. Borders run through sacred music practices, for example, separating eastern and western Christianity no less than eastern and western Ashkenazic Jewish cultures. As my title indicates, Balkan borderlands are also sites of transit, in other words, the mobility that yields the extensive multiculturalism that defines regions, nations, and musics. Borders and transit converge in the cabaretesque practices I have pursued for over two decades.
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The author presents the research of Professor Adolf Dygacz into the musical culture of glassworks workers. It primarily consists of the songs of foundry workers, their musical and content analysis, customs and vocabulary. The text comprises the description of glass musical instruments considered as a collection of glassworks products, and the examples of musical note manuscripts of Dygacz. The author denotes that up to now the foundry folklore has not lived to see its own popularization and scientific monographic study. The sources of the rich collections of the songs and customs of glassworks, numerous materials from field studies are still kept in the home archives of the Professor.
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Purpose of the research is to consider the image of childhood in the national music of XX century within the scope of symbolization of respective sense in artistic sphere in whole, in applied art. Methodology of the research consists of intonation approach of Asafiev’s School taking into account the spiritual grounds of the concept of intonation in signing practice of Christian churches. Position of stylistic comparativeness described in the Asafiev’s work "Symphonic Etudes" dated 1910, is of special importance. Contemporary performance approach in his actual intonation orientation is considered basing on the works of N. Korykhalova, A. Sokol, E. Markova, and P. Muliar. Scientific novelty of the work is seen in originality of theoretical idea of reflection and symbols of childhood in artistic self-sufficient and applied spheres. Consideration of the link with neo-rococo of XX century with the line of childishness in the art of the past century is considered innovative. Conclusions. Multi-aspect link of childish-adolescent is reflected in religious, scientific-philosophical ideas, imaginative tasks of artistic composisions and distribution of systemic approaches in professional education, universally including the consciousness in its logical quality of adult individium, but leaving a special place for extremely early profilization, including in music until now.
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This article presents an outline of the history of shaping communio chants (one of the Proprium Missae chants for Communion): from Christian antiquity (Cyril of Jerusalem, John Chrysostom, Apostolic Constitutions), through the Middle Ages (Ordo Romanus Primus), the post-Tridentine period (Communiones totius anni by Mikołaj Zieleński), to the reform of the Second Vatican Council, to which we owe the collection of antiphonae ad communionem (Graduale romanum, Graduale Simplex, Missale romanum, Ordo Cantus Missae) in liturgical books, and indirectly also contemporary chants and songs intended for the communionprocession.
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Theodor Leschetizky (1830–1915), born in Łańcut, a pupil of Carl Czerny and Simon Sechter in Vienna, is known today primarily as an eminent piano teacher, but he began his musical career first and foremost as a pianist and composer. He notched up successes as a virtuoso, and his own music won critical acclaim. Like many other nineteenth-century pianists, Leschetizky wrote piano concertos, most likely with himself in mind as the performer of the solo parts.Analysis of Leschetizky’s early output and artistic activity, as described in press articles from the 1840s, 50s and 60s and in his early biographies (written during his lifetime), proves that he was successful both as a composer and a virtuoso. This article is devoted to Leschetizky’s one-movement Concerto symphonique pour le piano et l’orchestre in C minor, Op. 9, which he probably never performed, and to the autograph manuscript of this work, now held in the Library of Congress in Washington (US-Wc ML96.L4678 no. 1 Case). I investigate why this piece probably never entered the concert repertoire of its composer or any of his eminent pupils, and was only given its first performance in the twentieth century – in 1977, in the US.
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The aim of the article is the analysis of the rise of music documentaries and defining the source of the film language employed by its creators. The subject of research are both traditional film documentaries, the so called rockumentaries, and film recordings of concerts and festivals. Through examining the genesis of the musical fact based cinema, the author devotes special attention to technological aspects, as well as their impact on the shape and aesthetics of the works of art belonging to this genre. The considerations revolve around classic titles created in the spirit of direct cinema, because it is direct cinema that Kicka defines as the source of the most distinctive features of contemporary music documentary.
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This article presents Józef Elsner’s one-act opera Echo w lesie (An echo in the wood), to a text by Wojciech Pękalski, in the context of the generic term ‘intermezzo’ originally applied by both its authors to this work, as it was to several other pieces by Elsner written in the years 1808–1810. The circumstances of this opera’s composition justify the interpretation of this term as an intentional reference to late eighteenth-century Italian intermezzi buffa. I have analysed the composition in this respect, revealing the connection between its textual content and the eighteenth-century opera buffa, the presence of stylistic features and composition techniques characteristic of that repertoire, and elements of musical allusion, parody and other intertextual references which are typical of the opera buffa.
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The author of the given article has revealed artistic and imaginative content by W. Runchak "Homo ludens І for…" flute (or clarinet or saxophone). The author identifies the modern means of expression through which the disclosure shaped areas of musical composition.
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