GOD’S LOVE FOR HUMANITY – IN MUSIC

Author(s): Petruţa-Maria Măniuţ / Language(s): English / Issue: 2/2008

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.

Oedipus Rex - Ipostaze ale muzicii electronice în spectacolul teatral, între manierism și spectralism

Author(s): Ovidiu-Vasile Iloc / Language(s): / Issue: 2/2014

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

Posibilităţi actuale de publicare online, pentru muzicologi

Author(s): Elena Sorban / Language(s): / Issue: 2/2014

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

Une coutume moins analysée présente dans le cadre du cérémonial funèbre chez les Roumains. La liberation à l’eau

Author(s): Constantina Boghici / Language(s): French / Issue: 1/2014

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.

"...Mert a Don Juanra és a Fidelióra vágyom!" (Péterfy Jenő zenekritikái)

Author(s): Sándor Bazsányi / Language(s): Hungarian / Issue: 03/2003

„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.

"Adzio". Przyjaciel kompozytorów, niestrudzony inspirator

Author(s): Ryszard Gabryś / Language(s): Polish / Issue: 3/2015

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.

"AUSFÜHRLICHE THEORETISCH-PRAKTISCH ANWEISUNG ZUM PIANO-FORTE" J. N. НUMMEL IS IN ESTIMATES AND JUDGMENTS OF THE SCIENTISTS OF THE LATE 19TH CENTURY

Author(s): Olesia Stepanova / Language(s): English / Issue: 2/2018

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.

"Barbora umarła…", czyli o zabytkach folkloru hutniczego w archiwaliach Adolfa Dygacza

Author(s): Adam Okun / Language(s): Polish / Issue: 3/2015

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.

"CHILDHOOD-YOUTHHOOD" AS SPECIAL PSYCHOCULTURAL CATEGORY AND ITS SPECIAL MISSION IN CULTURE AND ARTS OF THE XX CENTURY

Author(s): Olena Khil / Language(s): English / Issue: 4/2017

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.

"Czarodziejski flet" według Mozarta

Author(s): Tomasz Cyz / Language(s): Polish / Issue: 94/2006

"Direct cinema" a dokument muzyczny. Wpływ kina bezpośredniego na powstanie i kształt dokumentalistyki muzycznej

Author(s): Mateusz Kicka / Language(s): Polish / Issue: 91/2015

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.

"Doin' Damage in my Native Language": "Glocal" Hip-Hop

Author(s): Tony Mitchell / Language(s): / Issue: 4/2003

"Echo w lesie" Józefa Elsnera i Wojciecha Pękalskiego – późny pogłos włoskiego intermezza na warszawskiej scenie narodowej?

Author(s): Jakub Chachulski / Language(s): Polish / Issue: 2/2020

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.

"Ej-haj zsidó nélkül mégsem lehet élni"

Author(s): Robert Cohen / Language(s): Hungarian / Issue: 1/1993

"Hineni, hineni, Készen állok, Uram.” Leonard Cohen elhívása

Author(s): Tom Teicholz / Language(s): Hungarian / Issue: 4/2016

"Homo ludens І" для флейти (або кларнета, або саксофона) В. Рунчака: образна сфера та особливості її вираження

Author(s): Valeriy Hromchenko / Language(s): Ukrainian / Issue: 22/2012

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.

"IX symfonia" Ludwiga van Beethovena w aspekcie problemów wykonawczych partii chóralnej

Author(s): Waldemar Sutryk / Language(s): Polish / Issue: 4/2012

"Symphony No. 9", a music masterpiece by Ludwig van Beethoven seems to the author of the article to be special, solemn and rich in content and music. An outstanding work requires a perfect art of performing. The author concentrates on the problems of performing choir parts within a harmonic and melic structure, rhythmicity, dynamism, intonation, agogics, text, articulation and a general artistic impression. The text is rich in information and practical remarks on the art of conducting a choir band.

"Jazz. Asta mi-a fost dat mie sa servesc"

Author(s): Jancsy Korossy,Brînduşa Armanca / Language(s): Romanian / Issue: 02/2013

"Klapski pokret" – višeglasno pjevanje kao popularna tradicija (Izvorni znanstveni članak)

Author(s): Joško Ćaleta / Language(s): English / Issue: 1/2008

Over the last 30 years, klapa singing, the well-known multipart singing tradition of the coastal and island part of Dalmatia (Southern Croatia), has simply outgrown the local traditional contexts and has become an interesting music phenomenon – a "movement". Over time, the character, music content, and style of the klapa have been dynamically modified, freely adopting new changes; the phenomenon that started as occasional and informal exclusively older male singing transformed into organized, all age, non-gendered singing. Nowadays, this organized form of singing, because of its manner of presentation, is perceived as a style of popular rather than traditional music. The klapa's popularity is a crucial factor for the endurance and development of the klapa multipart singing style. Popularity, in this case, is the recognition of the specific vocal style of a genre within the local or broader community, in which a particular multipart singing style exists. As seems to be common throughout the Mediterranean basin, one of the multipart singing styles became a synonym for the singing of particular region, island or country. Notions such as popularity, modernity, and movement, as well as the klapa movement, klapa community, klapa world, klapa population, klapa scene – terminology that has not had much in common with the purely sonic musical characteristics of multipart singing – helped to explain the present context and status of klapa singing, the traditional multipart singing that ranges from a singing style to the particular musical movement.

"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish / Issue: 2/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.