Studia Musicologica最新文献_第10页

Leons STEFANIJA, Sisyphus-artig schön. Portrait des Komponisten Uroš Rojko

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00018

Andreas Holzer

引用次数: 0

In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019) 在Bartók的足迹中——突厥人民间音乐研究系列（1936–2019）

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00015

J. Šipoš

{"title":"In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)","authors":"J. Šipoš","doi":"10.1556/6.2019.00015","DOIUrl":"https://doi.org/10.1556/6.2019.00015","url":null,"abstract":"The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49658761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

David Wyn JONES, Music in Vienna – 1700, 1800, 1900 David Wyn JONES，《维也纳音乐——1700、1800、1900》

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00017

K. Komlós

引用次数: 0

Stravinsky, Ditta, and Bartók’s First Piano Concerto 斯特拉文斯基、迪塔和Bartók的第一钢琴协奏曲

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00001

R. Taruskin

引用次数: 0

With or without the B-A-C-H Motive? Bartók’s Hesitation in Writing his First String Quartet 有没有杀人动机?Bartók在创作第一个弦乐四重奏时的犹豫

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00002

L. Somfai

引用次数: 0

Unveröffentlichte Briefe Hans Richters an Johann Nepomuk Dunkl und Edmund von Mihalovich 汉斯·果尔德给约翰奈波莫克这封信以及米勒维奇的埃德蒙

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00010

Ágnes Gádor, Veronika Vavrinecz

引用次数: 0

Simultaneous Events, Parallel Themes, Spatial Oppositions: A Comparative Content Analysis of Traditional Dance 同时事件、平行主题、空间对立:传统舞蹈的比较内容分析

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00014

János Fügedi

{"title":"Simultaneous Events, Parallel Themes, Spatial Oppositions: A Comparative Content Analysis of Traditional Dance","authors":"János Fügedi","doi":"10.1556/6.2019.00014","DOIUrl":"https://doi.org/10.1556/6.2019.00014","url":null,"abstract":"This paper focuses on the smallest units and micro-structures of traditional dance. I propose a new approach that ventures beyond the identification of simple syntagmatic relations derived from the temporal succession of movements: a former practice of dance analyses that relied on theories borrowed from linguistics and music. The following discussion, based on the analysis of movement content as spatial change, demonstrates the existence of independent but simultaneous movement events in dance: each event possesses an expressive potential and the capacity for performance as a single rhythmical unit. Identifying events creates the possibility of separating parallel running, autonomous movement themes. Amongst the examined structures, an exceptional one, here termed contrakinesis, emerges, which represents spatial opposition as a recurring, characteristic phenomenon in East Central European traditional dance. The theory of simultaneous events and parallel themes reveals that concepts of expression in traditional dance can be comprehensively recognized only through a content-oriented exploration relying on movement analysis: an approach derived from investigating the dance itself.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43693106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime 神奇普通话的变形——类型在巴托克哑剧创作中的意义

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00003

László Vikárius

{"title":"Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime","authors":"László Vikárius","doi":"10.1556/6.2019.00003","DOIUrl":"https://doi.org/10.1556/6.2019.00003","url":null,"abstract":"Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a significant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of the piano reduction published posthumously in 1955 by Universal Edition present an abridged form of the work, which cannot be fully authenticated and was finally restored to its more complete form in Peter Bartók’s new edition of 2000. Looking for the possible origin of the more obscure cuts, discussions with choreographer Aurelio Milloss in 1936 and Gyula Harangozó in 1939/40, both of whom later directed and danced productions of the work under the baton of János Ferencsik with great success (in Milan in 1942 and in Budapest in 1945, resp.), should probably be taken into consideration as these might have resulted in the integration of cuts into the published full score. Apart from trying to understand the different stages of the work’s long evolution, the article argues that it is essential to study the original version in the compositional sources since it reveals Bartók’s first concept of the piece composed in his period of highest expressionism.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46295011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gestures of the Soul The Prayer Chant of the East-European Jews 灵魂的姿态东欧犹太人的祈祷圣歌

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00016

Judit Frigyesi

{"title":"Gestures of the Soul The Prayer Chant of the East-European Jews","authors":"Judit Frigyesi","doi":"10.1556/6.2019.00016","DOIUrl":"https://doi.org/10.1556/6.2019.00016","url":null,"abstract":"The basic style of East-European Jewish (East-Ashkenazic) prayer chant (davenen), even when it might seem to be simple on paper, in transcription, has a complex and unique system of micro-structure. This micro-structure, which is evident in subtleties of rhythm and melody, voice quality, form, techniques of variation and ornamentation, is inventive and daring, and creates a compelling aesthetic and spiritual effect in the auditory experience. The present article discusses the question of how this creative compositional practice might have evolved. The article claims that the uniqueness of davenen results from the fact that children begin learning this “art” at a very early age, before they are able to speak and conceptualize the phenomena of the surrounding world. With davenen, a spontaneously felt language before language is learnt: a language in which words and melodies, rhythms and musical gestures and effects, emotions and fantasies and associations are merged into one whole. As a result, in the realization of prayer chant, even in the case of professional prayer leaders, originality and tradition, copying and fantasy occur together in a continual fusion of memory and forgetfulness. This article discusses Eastern European Jewish prayer chant and its learning process on the basis of its author’s decades of fieldwork and of literature and memoirs from before WWII.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67003812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

“Zero point” The Beginnings of György Ligeti’s Western Career “零点”——吉尔·利盖蒂西方职业生涯的开端

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00005

Márton Kerékfy

{"title":"“Zero point” The Beginnings of György Ligeti’s Western Career","authors":"Márton Kerékfy","doi":"10.1556/6.2019.00005","DOIUrl":"https://doi.org/10.1556/6.2019.00005","url":null,"abstract":"György Ligeti and his wife fled Hungary in December 1956, travelling through the night of the 11 and 12, and finally reaching Vienna the following day. The existing materials dating from Ligeti’s early emigration demonstrate particularly dynamic correspondence with three Hungarian expatriates: composers Sándor Veress and Mátyás Seiber, as well as the critic John S. Weissmann. 33 letters and postcards and a further 11 replies, held in the Paul Sacher Foundation in Basel, comprise a body of Ligeti’s correspondence with these colleagues dating between the final month of 1956 and the end of 1958. Although evidently incomplete, this unique collection offers novel perspectives surrounding the beginnings of Ligeti’s Western career. Reflecting expectations and future aspirations, these documents trace the excitements as well as challenges of “wiping the slate clean.” Encapsulating Ligeti’s evolving compositional interests and recounting the processes through which he forged new professional relationships, this correspondence reveals insights relating to the composer’s newly- emerging public image. Emigration brought many trials, yet upheaval simultaneously presented an opportunity to radically break with the past. Ligeti could redefine his professional identity as a composer. Although Ligeti felt uneasy in Cologne, it quickly became apparent that engaging in an official capacity with the Electronic Music Studio of the West German Radio (WDR) provided an extraordinary opportunity to establish himself in avant-garde musical circles. Initially shocked by these musical experiments, it was clear to Ligeti that his own creative path lay separate from the avant-garde scene with which he became acquainted in Cologne. Ligeti’s correspondence dating from these encounters indicates that he left Hungary with preconceived musical concepts and aspirations. His experiences with contemporary music rather provided the technical tools through which he could construct and articulate his own concepts, in a manner appearing current in the context of the Cologne-Darmstadt avant-garde.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46233016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1