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The Catholic Masses of William Byrd are a problematic entity in the context of Protestant England. Byrd’s affiliation with the underground Catholic movement during the reign of Queen Elizabeth I is evident through his compositional approach, and his hosting of Catholic Mass. The three masses are conceived for such a secret meeting of the faithful Catholics. The Masses are originally designed for one-to-a-part singing, due to the limited number of musicians available at the meetings. The compositional style is that of the previous generation of English Catholic composers, and the contemporary Continental practices of setting the Ordinary of the Mass.
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Musical analysis and semantic interpretation are nowadays inherent aspects when approaching a musical score, no matter its genre, composer, cultural-geographical origin, stylistic features or historical period. The present research is concerned with the analytical techniques which are necessary when analysing a contemporary musical work, in order to grasp its deepest meanings. The purpose of our paper is to use structural analysis, semantic interpretation, combined with hermeneutical remarks and psychological aspects of the composing process, in order to analyse the musical work “Mithya”, created by Romanian composer Doina Rotaru, whose name has a large echo all over the world. Beginning with the principles indicated by Leonard Meyer in his book, "Emotion and Meaning in Music", we tried to learn the mechanism by which the first piece of the cycle, entitled “As a prayer”, generates an exciting psychological process and a permanent connection between playing and listening.
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Estonian composer whose creation was classified by the critics in the artistic musical movement called “holy minimalism”, Arvo Pärt (1935-) is a special creator, author of many opuses of film music, works for organ, piano, orchestra, choral pages with accompaniment but also a cappella. Arvo Pärt expresses its beliefs and life principles in sonorous works with the help of the tintinnabuli composition technique. With a profound hermeneutical and semantic load, his music stems from his life philosophy, uses a simple language, but not simplistic. “De profundis” and “Zwei slawische Psalmen” are two works based on psalm texts that use the minimalist composition technique.
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In the following pages, we propose an analysis of the urban capitalistic society we live in; it is an environment where real value is often subdued to the dictatorship of commercial principles; consequently these true values receive an expiry date and a convenient price established according to negotiable criteria. With echoes in politics and media culture, consumerism implies several – often contradictory – meanings. Rooted in America (hence the terminological connection), consumerism has its own effects in the art product, extending its echoes towards music as well. Following the American example, smaller societies expressing capitalistic views and finding themselves in a so-called economic ascension will pervert their integrity and spiritual values one by one, yielding in front of materialism and discontinuity. By analysing the specific language elements, the historical and social contexts and their effects, we choose to discuss the moment when music tends to transcend the border of an artistic act in order to become an act of consummation.
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Dans le commentaire du docteur en musicologie Isabelle Werck nous découvrons de nombreuses informations concernant l'un des témoins de la vie, de l'activité et de la pensée du grand compositeur Gustav Mahler durant le dernier quart du XIXe siècle. Les commentateurs du journal de Natalie Bauer-Lechner (parmi ceux-ci le musicologue Henri- Louis de la Grange) apprécient que l'auteure des mémoires a été parmi les premières à pressentir l'envergure que prendrait le compositeur. D'après les souvenirs de ceux qui l'ont connu, il faut retenir que les rencontres avec lui se transformaient en longues promenades durant lesquelles le musicien exposait ses pensées et idées. Entre 1898 et 1901 toutes les conversations, les pensées et les idées ainsi réceptionnées sont transcrites fidèlement par Natalie Bauer-Lechner, dans leur intégralité, bien ordonnées et conservées tout le long de sa vie dans une version manuscrite. Les commentaires de Natalie ne manquent pas d'intérêt, car elle a assisté aux concerts du jeune maître ou a été témoin au processus de la création des quatre premières symphonies de Mahler.
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In the „Concerto no. 1 for cello and orchestra, op.107 in E flat major”, being the most important of Shostakovici’s works, after Symphony no. 11, the solo instrument represents a complex "character" which makes a dialogue or has a confrontation with the orchestral ensemble segments. The orchestra is made up of a piccolo flute, a flute, two oboes, two clarinets (in B flat and A), a bassoon, a contrabassoon, a horn (in F), timpani, celesta and the strings quintet. The instrumental nuances intertwine with the virtuosity of the solo parts. The cantilena feature of the solo episodes, marked by elements of improvisation, is combined with the declamatory "monologue" of the orchestra.
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Alongside organization, coordination, training and monitoring / evaluation, planning is a function of general management, representing a crucial element in the development of any cultural activities at both a personal and professional level (working, cultural organization, company, individual enterprise). Planning implications on cultural management are enhanced by the essential characteristic of management that is both art and science. This special feature of management allows, by involving the practical component of management, entail the specific field of arts. Thus, both essential aspects are combined from the artistic field and elements related to science, connected to talent developed based on training, experience, creativity, and methods, economic principles universally valid in commercial activities.
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Cette grande création sacrée est définie comme une transition entre la parole et la musique, encadrée en ce qui concerne la forme et le choix par le compositeur Viorel Munteanu dans la tonalité mineure. Le début et la fin de cette composition donnent de la couleur et appliquent l’imagerie et la triade de cette oeuvre. La ligne mélodique contient une écriture syllabique, avec un style des stichères de la musique byzantine, mais avec très peu d’éléments mélismatiques.
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During time, music found its way not only as art, but as science as well. From the great composers to modern electronic music, the science behind it affects us neurological. Therefore, music becomes involved in therapy successfully. As music therapy it was continuously diversifying its techniques and methods of application it became itself seen both as an art and as a science. But although practicing music therapy showed effects, these were hard to be quantified through quantitative methods. The new research directions in the field of music therapy brought up apart from the medical instruments nuclear technology for diagnosis, and recording and measuring equipment of the body’s reactions to music. It was found out in which way music affects different areas of the brain, what happens in the body during an audition or a playing session, what reactions we have to a certain type of music and to a musician, and the importance of analyzing the vibrational frequencies of sounds.
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This paper aims to reflect (at the musical level too) the special sonority of George Cosbuc’s poetry, 150 years from the birth of this national poet. We will provide relevant poetic and sonorous examples, and offer data from a rarely performed analysis concerning the semantics of the poetic verse and its musical aspects.
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Whenever it comes to finding the right music for a music therapy session, music therapists find themselves overwhelmed by the numerous possible choises, though asking themselves which one is the most appropriate and with the best results. The aim of this paper is to investigate the influence of music on people, and to find ways of facing the challenge of choosing the right music for each individual. Starting with the fact that listening to music is predicting the personality, is increasing the creativity and is improving our motor and reasoning skills, being the centre of the therapeutic process, we find challenging the method of choosing the music although, nowadays, the new technology is of great help in making the choice.
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This study aims to approach the atypical lyrical genre - opera fresco - (Steps of History) in Mihai Moldovan's vision and to systematize certain original elements of language, through which the composer reveals to us a world of archetypes and, implicitly, of the history of the Romanian people. During the eleven frames, the composer makes use of a chromatic modal language, of neo-baroque architectures (fugue, canon, passacaglia) or free architectures, geometrical chord structures, textures based on the permutation principle at the cellular level, repetition with the filling of the voices along the way, dense dynamics and a diverse palette of tempos. The composer takes a full advantage of the timbrality of the voices and of the soloist instruments, of the mixed choir and of the entire apparatus of the orchestra, creating contrasting sections, where he sometimes reenacts the atmosphere of the national ancestral traditions. Having a real dramatic sense and being an eternal lover of the authentic folklore, Mihai Moldovan climbs the stairs of history, describing through his music the disturbing story of the Romanian people, faithful in the light of new horizons, which seem to be born from Brancusi's Endless Column.
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La recherche sur le thème « Quelques aspects de la couleur dans la musique et la peinture » commence par une investigation interdisciplinaire, fondée sur des arguments existants dans l’histoire des arts, la peinture, la création musicale, où l’idée de coloris est présente. Le coloris se révèle être la substance vitale de la création moderne qui surprit et exprime, dans une infinie diversité d`aspects, la vibration spirituelle des créateurs de différentes cultures, époques et styles. Dans le même contexte on a envisagé l’influence de la couleur et de la lumière dans l’espace musical, des aspects sympathétiques, mais tellement différents.
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The perception of the style characterizing the last decades of the 19th century as late romanticism and its different reception in the context of the parallel existence of the other styles specific to the first decades of the 20th century, provide us with various interpretations of Postromanticism. Based on these considerations, the phenomenon discussed here may be tackled from several perspectives: Late Romanticism, Typical Postromanticism, Postromanticism – synthetic style. We will attempt, in the research hereunder, to underline the three ways of highlighting the style in connection with representative composers and especially with opuses in different genres of the world and Romanian repertoire signed by Anton Bruckner, Richard Strauss, Gustav Mahler, Arnold Schȍnberg, George Enescu.
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In an era of globalization, where barriers of all kinds (ethnical, social, economic, but also cultural and even linguistic) have been overcome, it is important to rediscover folklore, which has become almost extinct from its “natural habitat”, surviving only in books, folklore collections, cultural histories, in television and radio programmes, or in the concert hall, which is not its environment.
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This study presents the works of Imets Dénes (1929-2011), music teacher, folk music collector and playwright. His folk-music collecting activity took place between 1962 and 1972 in Csík. In his 1972 study he talks about his collecting activity of the previous decade. He recorded his collections. These contain more than 100 hours of music material. Except for one volume his entire collection is still unpublished, because under the communist system they were not allowed to be published. He called upon me in 2010 with the intention of publishing his collected material. He entrusted his manuscript to my care. This contains 278 tunes (One little bird, Csíki folk-song collection) (Egy kicsi madárka. Csíki népdalgyűjtés) , and unfortunately at the present time remains unpublished.
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Dobruja, a consequence of numerous overlapping cultures and civilisations, is an actual example of cohabitation and each ancestry keeping its identity. Adapted and accepted in the compact mass of the majority, minority ethnics from Dobruja’s culture and lifestyle is asserted both as part of the community, and outside of it. In geographical areas characterised by multiculturality, such as Dobruja, traditions are performed in diverse forms, thus contributing to the assertion of identity of the group who practices them. This paper aims at introducing the songs accompanying a major moment in the Dobruja Aromanians’ and Tatars’ nuptial ritual. The bride parting with her family environment is distinct in the case of both communities. Parting Songs are both vocal, and instrumental. In the Aromanians’ case, they are played when the bride is taken by the groom from her parents’ house, to go to the religious ceremony. In the case of Tatars, the actual wedding starts with this song, in the moment when the bride and the groom leave the parents’ house and join the guests. These community practices prove the existence of a homogenous ritually background in the Dobruja area, currently deemed to be the native land by all referenced community members.
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The music helps and advertise in the meantime a nation to integrate to the world’s culture. The cultural activities themselves, generally speaking, and the musical ones, in particular, have the great opportunity to prove what a nation has got for the best: the indoor and outdoor music festivals, the music competitions, the musical exchanges, the academic music collaborations, the educational music programs, the music exhibitions, the music fairs, the music concerts, the music conferences and the music symposiums, all of these, at national or international level. All these are managed by the cultural diplomacy which shows them to the whole world. The goal of the music as a cultural diplomacy is to use her influence on a foreign audience in order to support the policies themselves. The music is a sure way to generate the most important aspect of of the humanity since thousands of years: the peace.
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This study aims to confirm the psychosocial function of art through one of its noblest displays, meaning, of a choral or instrumental conductor. It is an interdisciplinary study, as it involves multiple fields, such as: Humanities, Music, Psychology, Social Psychology, unveiling the conductor’s modalities of expression, of the art of being in harmony with smaller or larger choirs. It is through art that man relates to Himself and Society; it is through culture that he improves his modalities of communication, by creating the aesthetic space which can define the behavioral models. The conductor is the sum of the abilities developed and refined in Music. Through his activity, the conductor uses a complex inter-human communication, thus, shaping interpersonal relationships. The non-verbal communication represents an inter-human relationship, molded by the conductor’s psychological approach through the usage of language, the sender instrument. Expressivity creates gestural eloquence. It has the power to convince and impress through the force of imposition and the emotional charge diffused to the instrumentalists.
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