We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
This article presents a theory of the musical sign from the perspective of general linguistics, supplemented and adapted by a “integralist” thesis, linked to text linguistics and, therefore, to the existence of a “textual sign”, which corresponds to the active linguistic sign at a different language level and has the following structure: “significato e designazione costituiscono insieme il significante, mentre il senso costituisce il significato dei segni testuali” (E. Coseriu, Linguistica del testo, 1997).
More...
This article presents the major approaches to music therapy used today. The procedures for most of approaches are quite distinct; nevertheless there remain important commonalities among all of the approaches. The intent of each approach is to stimulate positive changes in the client through music, although some approaches emphasize changes in a specific area of human functioning: cognitive,physical, psychological or social. All of the approaches depend on the appeal and influence of music to bring about changes in the client, all of the approaches provide valid avenues for therapeutic work, and all of the approaches require training to be used effectively. The differences in approaches are well suited to the diversity of practicing clinicians and the clients they serve.
More...
In this study, I have carried out music therapy with the identified dysphonic children for 6 months, during which I have tried to develop their musical skills. In determining the musical success, the learning strategies, practicing, encouragement and continued support were important. The purpose of the research was to include effective ways to musical recovery for dysphonic children, aiming at developing musical hearing, acquiring singing skills, developing a sense of rhythm and especially overcoming the psychological threshold created by the suspicion of the peers and of the parents.
More...
This article is devoted to N. Chiolak who is one of the most famous contemporary musicians of the Republic of Moldova. He is a vivid example of the successful and talented combination of a conductor, a composer and a pedagogue (Balaban 2014, 7). N. Chiolak has been the Chair Head of the Ismail Pedagogical Institute, the Chair Head at the Academy of Music, Theatre and Fine Arts for 15 years and a pedagogue at the Academy for 44 years. The article describes N. Chiolak’s becoming a composer. He is the author of the Church music, the secular works for variously structured choirs, the music for voice, piano, organ, cello, etc.
More...time; organisation; meaning; symbolism; functions
Musical discourse, and all its important events (thematism, repetitions, interior articulation, elements of diversification and motivic development etc.), must be conceived at the moment of creation within the time frame in which they will take place when the piece is interpreted, in other words, the composer must be capable of imagining a realistic positioning of his work in the time that takes music in its flow. The composer must have a special sense of time, he/she must surpass the reality of the composing time (a much extended reality) and position himself/herself at every moment in the time of the interpretation of his/her work.
More...
La correspondance des arts, les interférences entre sonore, visuel et mouvement, ont préoccupé depuis longtemps les artistes et beaucoup de ceux qui ont réfléchi sur les phénomènes artistiques. Elles sont investiguées aujourd’hui par les neurosciences. Dans l’essai de trouver un langage commun et un moyen d’investigation transversale entre les niveaux du spectacle, l’extrapolation de la notion d’intervalle nous semble un moyen logique plausible.
More...
Károly Színi's song collection was rather unique in its time, since it indicated the melodies in one voice, without any piano accompaniment. According to his prolog, and by including the national Anthem – and other patriotic songs, which were born in the middle of the 19. century –, as well as other songs still sung in the beginning of the 19th century but since then partly forgotten, the author intended to highlight the importance of preserving the song tradition of the contemporary collective consciousness. In this publication we can find songs of a wider variety of social classes that were preserved through unwritten tradition, and also fresh folklorisations (such as popular art songs written to the poems of the greatest contemporary poet, Sándor Petőfi).
More...
The early collection of Hungarian folk songs under the influence of the Enlightenment, was similar to the European documentation of literature and language in general. The collections are historical sources to the living tradition, too. They lighten to musical styles of the different periods, characteristics of different social groups and their typical songs. Individually, but mainly collectively they also capitally reflect to the era of their origin. As the terms „folk song”, „folk music” were unexplained yet, these collections contained all kind of melodies expanding from peasant songs to popular art songs. The publication of these collections started already in the first half of the 19th century. In the second half of the century a new way was taken with the intention to create a universal collection of Hungarian songs.
More...
The creative spirit of Romanian people has materialized throughout its history in invaluable material and spiritual values; in order to express the joys and longings of their heart, they invented songs and the musical instruments, which reveal their creativity, the artistic taste and the skills of the Romanians. Without a full knowledge of musical instruments by folk creators and performers, it is not possible to understand instrumental folk music. The rediscovery of traditional culture, at a moment when the information explosion of the scientific field seems to penetrate in all domains is very important. Popular tradition is established as a fundamental cultural factor, its complexity requiring the creation of a reference system. The persuasive force of the message, the possibilities of the wind instruments to emanate new sonorities seem unparalleled, but they respond most convincingly to a search for a modern language, characteristic of current compositional creation. The mentioned values determine not only the value appreciation of the wind instruments, but also the spectacular increase of the number of authors who will compose music for these instruments. The variety of music through popular instruments, as well as the huge number of creations collected and studied on scientific grounds, famous instrumental artists have made Romanian music to be recognized worldwide as one of the richest in spirituality.
More...
The Great Romanian Festival of Vojvodina was born in 1959 in Uzdin, Serbian Banat. A very important role in the establishment of this festival was played by the Folk Music Orchestra of the Novi Sad Radio Station founded in the autumn of 1949. After a concert held in Uzdin by this orchestra, the idea of setting up a Festival to promote young talents within the Romanian community in the Serbian Banat, appeared. Only vocal soloists and instrumentalists participated in the first editions of the festival, and later during the following editions Romanian folk music orchestras, tarafs, choirs, vocal groups, dance groups, folk ensembles and marching bands also participated.Since 1990, this festival has become more and more popular among Romanians in the Serbian Banat. Out of the love for music that they have acquired from grandparents, great-grandparents and parents, there are more and more young people who are oriented towards musical studies. Even before 1990 there were many professional Romanian musicians, but until now their number is growing and the Grand Festival and the Popular Music Orchestra of the Novi Sad Radio Station have played a very important role in this regard. This Festival had a very important role into the preservation of the the Romanian folklore, specific to the Serbian Banat area, bringing to the public's attention the traditional Romanian folklore from all areas of the country through the participating musicians, promoting vocal and instrumental soloists, orchestras, tarafs, choirs, fanfares and dance formations.
More...
Gavriil Musicescu, in addition to his prodigious activity in the field of choral music creation, had a rich conducting activity with various choral groups, among which the Metropolitan Choir of Iași played an important role. With this ensemble he toured in many of the spaces inhabited by Romanians, such as: Banat, Transylvania, Bessarabia, etc. These moments of spreading the Romanian musical culture had important repercussions in the local musical environments, contribution to the dynamization of the zonal musical activities, to the awakening of the national consciousness of the Romanians from various provinces. In the summer of 1890, the Metropolitan Choir of Iași led by Gavriil Musicescu performed an important tour in Lugoj. The program of Musicescu's concert was structured in three distinct parts: religious choral pieces, solo program and choral works inspired by Romanian musical folklore. The Lugoj tour had wide echoes among local musicians. Ion Vidu, then a modest teacher, attended the Conservatory of Iași for two years under the direct guidance of Musicescu. Also, Timotei Popovici from Banat attended the same Conservatory, under the auspices of the great musician from Iași. In conclusion, the tour of the Metropolitan Choir from Iași contributed to the dynamization of the Banat musical activity, Gavriil Musicescu having an important role in the formation of some composers who will capitalize in their creations the local musical folklore.
More...
The panflute, also called panpipe, is an instrument that enjoys great popularity nowadays. Although beloved for its divine sound, the instrument remains for most people a mysterious object, without a tangible history. From the technical point of view, the evolution of the panpipe was very slow. The contribution of the Romanian musicians produced a total change of the panpipe's image in its perception and acceptance in the musical societies from all over the world. Due to the genius of some fiddlers, musicians and pedagogues such as Angheluș Dinicu, Fănică Luca, Gheorghe Zamfir or Cornel Pană, the panpipe acquired, in addition to the many pages of history, a foundation with extremely valuable elements of instrumental technique.
More...
Currently, and at least in the Romanian Orthodox Church, for the convenience of classification and sometimes expression, when we talk about choral singing we refer, in particular, to the harmonic-polyphonic (or polyphonic-harmonic) singing performed by the choir in several voices, type of songs that began to be cultivated in Romanian churches since the nineteenth century - more decidedly in the second half of it - and which is usually clearly distinguished from the chant of a single voice, monodic, such as the song called "psaltic" or other regional variants, such as those in Ardeal, Banat, Bihor etc. For the problems we want to address further, however, it is necessary to deepen and, at the same time, broaden the notion of "choir". Choral singing only began to appear in the second half of the last century, beginning to manifest itself a little more timidly, with time, taking on an increasingly strong development. The Eastern musical spirit has now been removed from the Orthodox Church and the Western-specific spirit has penetrated.
More...
Ion Vidu remains known in the history of Romanian music par excellence for his choral creations. If his choral creation of secular inspiration was thoroughly researched by great names of Romanian musicology, such as Doru Popa or Viorel Cosma, the choral creation of religious inspiration, significant, could not be sufficiently debated due to the historical vicissitudes in which the main works on Vidu were written. However, the musicologist Viorel Cosma left us a general catalog of Vidu's creation, which includes his religious creation. Because 60 years have passed since the publication of Cosma's work, perhaps the most important Romanian biographical contribution on the Vidu’s subject, we thought it appropriate to analyze comparatively the information left by the musicologist with what we can find today in the funds of scores of different Banat institutions.
More...
Through his special work, Anton Pann was immortalized in the pantheon of Romanian cultural personalities of all times. His compositional activity materialized in several directions: translator of church songs, composer and collector of folklore. Anton Pann's work has been a rich source of inspiration for many composers, whether in religious music or secular music. His musical creation was the basis of many songs performed today by choirs, psalms and artists. His most important disciple, George Ucenescu, contributed much to the spread of the work of the great protopsalt. Various composers such as: D.G. Kiriac, Ioan D. Chirescu, Nicolae Lungu, Nicu Moldoveanu, etc., used many songs from Anton Pann's collection, and the result was the composition of beautiful songs, performed by many beloved artists and prestigious choral groups.
More...
The research of Byzantine music represents the culture and spirituality of an important part of humanity. The unique musical notation, which does not use the musical stave, has had a complex evolution over hundreds of years. Knowing the evolution of this musical notation system is as important as knowing the evolution of western notation.The last reform in the field of Byzantine musical notation took place in 1814 and is called the Chrysanthemum Reformation. This reform is very important for the Romanian music space, because this process led to the assertion of a cult music with strong autochthonous accents. Byzantine music is structured in eight modal scales, each with its own way of expression and specific cadences. These modal scales can be grouped as follows: I, IV, V and VIII are diatonic modes, II and VI are chromatic modes, and III and VII are enharmonic modes. The novelty of these modes is that they retain their characteristics throughout the Orthodox space, that modulation is a common melodic phenomenon which has been used long before it became established as a composition technique in Western music. In conclusion, the knowledge of this musical genre is an act of culture, the research of this field representing an incursion in the specific civilization of Eastern Europe.
More...
Marțian Negrea (1893–1973) is an important representative of the Romanian school of composition in the first half of the 20th Century. His style of composition results from the synthesis of musical language elements from both universal and local folk music. He began his musical studies in Romania, in Sibiu, with Timotei Popovici, and later moved to Vienna, where he continued studying with Eusebie Mandicevschi and Franz Schmidt. During the Viennese period, Marțian Negrea had access to the tradition of classical and romantic music and came into direct contact with the new postromantic currents, Impressionism and Expressionism. The musical compositions of Marțian Negrea are manifold, within various musical genres and are characterized by a national - folkloric specificity. The source of his inspiration, and also the theme of many of his works, is the life of the Romanian village, with the picturesque and beauties of nature. In the piano suite Countryside Impressions, composed in 1921, we encounter elements of modal-diatonic language combined with tonal-chromatic ones. The melodic line is inspired by the Romanian folk song, but from an harmonical perspective we find influences of french musical impressionism. The six miniatures that create the piano suite – Prelude, Evening at the gate, Alunelul (a children dance), The spindle, Once upon a time, The dance of elves – are musical jewels, describing in the most suggestive manner the specifics of Romanian songs, combined with refined, delicate harmonies. The piano suite Countryside Impressions is rich in elements of musical language that create a picturesque sonorous universe. The contrast of tempo and character generates a balance, a succession and a natural evolution of the six miniatures. The whole piano suite is crossed by a narrative thread, evoking the composer's preference for the programmatic-descriptive genre.
More...
Opera buffa has its origins in the interludes of opera seria, having deep roots in the tradition of Italian popular theater - commedia dell` arte. This operatic genre, like commedia dell`arte, is inspired by reality, drawing its subjects from everyday life. The mask, one of the main elements of commedia dellʻarte, is removed, but the comic situations, the typologies of the characters and the improvisational character are kept, also adding lyrical elements. The emergence and consolidation of the genre is the beginning of the juxtaposition between opera music and the aesthetic category of the comic. In order to create an effervescent show, the composers of this style use the aesthetic valences of humor, laughter, satire and irony, and intertwine them with a melodic discourse designed to support and amplify the vision of the libretto, considered innovative in the development of opera.
More...
A brief history of the violin making with the origin of the instruments and the most important representatives of the great violin making schools. Construction of the string instruments. Units of measurement of the intervals and sounds, their relevance and the history of discoveries. The great intonation systems, the temperate and the free-swinging systems with their parts. A history of their evolution. Uneven tempering system. The equal tempered system. The natural harmonic system. The continuing using it with a short history. Intervals in the natural harmonic system. The Pythagorean system. Intervals in the Pythagorean system. The hearing, the brain and the possibilities of an instrumentalist in intoning just a sound. The smallest interval that we can certainly detect and identify with our human hearing. The smallest unit of measurement is the foundation of every system of measurement. Hearing training. The advantages of the Pythagorean system. The only free-swinging system from which we can extract a complete scale, sounds at the same frequency, a beneficial psychical effect.
More...