Studia Musicologica最新文献_第2页

Musical Life in Budapest during World War II: Music Reviews by Dénes Bartha in Pester Lloyd (1939–1944) 第二次世界大战期间布达佩斯的音乐生活:dameses Bartha在peter Lloyd的音乐评论(1939-1944)

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00018

Anna Scholz

{"title":"Musical Life in Budapest during World War II: Music Reviews by Dénes Bartha in Pester Lloyd (1939–1944)","authors":"Anna Scholz","doi":"10.1556/6.2022.00018","DOIUrl":"https://doi.org/10.1556/6.2022.00018","url":null,"abstract":"Dénes Bartha (1908–1993), the internationally renowned Hungarian music historian, worked as a music critic for Pester Lloyd, the German-language Budapest daily newspaper between 1939 and 1944. Within the five concert seasons, I found a total of four hundred and sixty-five writings by Bartha in the columns of the newspaper, mostly reviews of concerts and opera performances but also some interviews and theoretical articles. The importance of the articles is enhanced by the fact that they commemorate the performances of such distinguished Hungarian musicians as Béla Bartók, Ernst von Dohnányi, Emil Telmányi, Ede Zathureczky, the Waldbauer–Kerpely String Quartet and the Végh Quartet among others, and they also document guest performances in Budapest by such renowned foreign performers as Herbert von Karajan, Wilhelm Furtwängler, Willem Mengelberg, Hans Knappertsbusch, Clemens Krauss, Edwin Fischer and Walter Gieseking. In 2022, one hundred and twenty articles were published in my Hungarian translation from this extremely valuable and diverse material. In this study, I present the main features of Dénes Bartha's perspective as a music critic, taking examples from the articles included in the volume.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44157945","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

What We Talk about When We Talk about Narrativity in Music 当我们谈论音乐中的叙述性时，我们谈论什么

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00012

D. Nagy

引用次数: 0

Piano Works of Transcarpathian Composers of the 20th and early 21st Centuries: The Phenomenon Research Algorithms 20世纪和21世纪初喀尔巴阡外作曲家的钢琴作品:现象研究算法

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2023-05-05 DOI: 10.1556/6.2022.00005

Marija Yarko, M. Borysenko, L. Buchok, Maria Karalius

{"title":"Piano Works of Transcarpathian Composers of the 20th and early 21st Centuries: The Phenomenon Research Algorithms","authors":"Marija Yarko, M. Borysenko, L. Buchok, Maria Karalius","doi":"10.1556/6.2022.00005","DOIUrl":"https://doi.org/10.1556/6.2022.00005","url":null,"abstract":"The purpose of this article is to study the continuity of musical thinking professionalization on examples of piano works by Transcarpathian composers, which are very significant for the formation of the Transcarpathian compositional tradition as a historical phenomenon of mastery development by Transcarpathian composers (Zsigmond Lengyel, Dezső Zádor, István Márton, Emil Kobulei, Mykola Popenko, Volodymir Volontyr, Anatoly Zatin, Viktor Telychko) regarding their compliance with the academic norms of musical thinking and with historically composed stylistic invariants. The approach to the research phenomenon is monadological, which means the intention to diagnose a mentally peculiar discourse of the stylistic design, combining the assimilation of historically relevant thought forms and the intonational stock of a multiethnic folklore of the Transcarpathian region. We come to the conclusion that the piano works of Transcarpathian composers reflect a historically determined manoeuvre of “catching up” with the stylistic initiatives of the whole twentieth century with its idea of a global cultural synthesis and reinterpretation/neo-restoration of traditions. It has been found that the starting point for the professionalization of music composition in Transcarpathia was the modern modality of style – a position that is usually characterized as a “post-Romantic reaction” to all the traditional and total renewal of musical thinking in order to innovate. At the same time, for the style-forming initiatives of Transcarpathian composers the discourse of stylization became most relevant – a special type of musical thinking that created the newest representation of the “intonation image of the world” and found its rather original embodiment in the postmodern phase under the guise of “intellectual performance.”","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46152371","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

Ernő Dohnányi: A Discography of the Performer 恩涅尔Dohnányi:表演者的唱片

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00003

Ferenc J. Szabó

{"title":"Ernő Dohnányi: A Discography of the Performer","authors":"Ferenc J. Szabó","doi":"10.1556/6.2022.00003","DOIUrl":"https://doi.org/10.1556/6.2022.00003","url":null,"abstract":"The performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47572487","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

Legende und Wirklichkeit • 传说和现实•

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00006

P. Enyedi

引用次数: 0

The Accusation of Dohnányi: The Legal Procedure in Hungary, 1945–1946 Dohnányi的指控:1945-1946年匈牙利的法律程序

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00001

Veronika Kusz

{"title":"The Accusation of Dohnányi: The Legal Procedure in Hungary, 1945–1946","authors":"Veronika Kusz","doi":"10.1556/6.2022.00001","DOIUrl":"https://doi.org/10.1556/6.2022.00001","url":null,"abstract":"Ernő Dohnányi, the world-renowned musician, was almost entirely forgotten during the decades between his emigration in 1944 and the change of political regime in Hungary: his name actually disappeared from public cultural knowledge. Though there may have been several explanations for the ignorance, it is not an exaggeration to state that the main reasons behind the tragic gap in his posthumous reception are of a political nature. It is widely known nowadays that during the settlements after World War II, Dohnányi – in his absence – was charged with intellectual collaboration with the Hungarian far right-wing regime. According to the present state of research, the charges were finally withdrawn as they were mostly ungrounded. Yet, the formerly adored artist and central personality in cultural life had become persona non grata for more than 40 years. After the political changes, his oeuvre seemed to be rehabilitated but without a thorough investigation of the charges and their background. This is why political prejudices are currently experienced simultaneously with a total bagatellization of the possible mistakes in his interwar activity. Thus, a systematic research into this subject has become very urgent. This study, which is intended to be a chapter of a full-length monograph on Dohnányi and politics (expected in 2023/24), was founded by the János Bolyai Scholarship of the Hungarian Academy of Sciences, and is one of the very first publications of this project in English. It aims to give a thorough description of the first two years of the official proceeding against Dohnányi at the different investigative levels such as the justificatory committees, public prosecutor, and government ministry.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44777911","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: 2

Attilio Ariosti as a Composer of Vocal Duets 阿提利奥·阿里奥斯蒂是声乐二重唱作曲家

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00007

Ivan Ćurković

引用次数: 0

Before The Wooden Prince: Károly Szabados's Ballet Vióra (1891) in the Context of the History of Hungarian Ballet 在木王子之前:Károly Szabados的芭蕾Vióra(1891)在匈牙利芭蕾舞史的背景下

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00004

Hedvig Ujvári

{"title":"Before The Wooden Prince: Károly Szabados's Ballet Vióra (1891) in the Context of the History of Hungarian Ballet","authors":"Hedvig Ujvári","doi":"10.1556/6.2022.00004","DOIUrl":"https://doi.org/10.1556/6.2022.00004","url":null,"abstract":"Following the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.”1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage.2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42745793","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: 2

Music Analysis as a Description of Eventing in Time: A Phenomenological Description of Bartók's Improvisation op. 20 no. 3 作为时间事件描述的音乐分析：Bartók即兴作品的现象学描述。20 no.3

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-12-09 DOI: 10.1556/6.2022.00002

Iyad Mohammad

{"title":"Music Analysis as a Description of Eventing in Time: A Phenomenological Description of Bartók's Improvisation op. 20 no. 3","authors":"Iyad Mohammad","doi":"10.1556/6.2022.00002","DOIUrl":"https://doi.org/10.1556/6.2022.00002","url":null,"abstract":"This article offers a phenomenological description of Béla Bartók's Improvisation op. 20 no. 3, with a focus on temporality as experienced in listening. Such a description aims at understanding the structure of eventings, through which we encounter and experience, grasp and take up the work's Gestalt in time as a singular dynamic whole, which is its being as becoming, its presentation in its idea and form. As a result, what we hear, perceive and understand as we listen to the work is revealed as the unfolding of a complex network of intersecting eventings, the crossing of contrarily directed motions, interpenetration of intonations and gestures, circularities on different perceptual levels from delaying and returning notes, intonations, gestures and themes, to thematic repetition and variation, their recallings and cross-referencing. These micro-eventings yield eventings on a larger perceptual level that include ternarity, cyclicity in its broadest sense and a concentric concave-shaped contour. This is the work's Gestalt; the unique balance as ratio, correlation and interrelation, not equilibrium, of all these eventings and temporalities.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43612254","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

The Fourth of the Fourth: On the Genesis and the Early Performances of the Allegretto, pizzicato Movement of Béla Bartók's String Quartet No. 4 第四乐章中的第四乐章：论Béla Bartók弦乐四重奏4号小快板、拨奏曲的产生与早期演奏

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00019

Zsombor Németh

引用次数: 0