Studia Musicologica最新文献_第3页

István Pávai (2020). Hungarian Folk Dance Music of Transylvania István Pávai(2020)。特兰西瓦尼亚的匈牙利民间舞蹈音乐

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00030

Dániel Lipták

引用次数: 0

Anna Dalos (2020). Zoltán Kodály's World of Music 安娜·达洛斯(2020)。Zoltán Kodály的音乐世界

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00027

Simone Hohmaier

引用次数: 0

The Forgotten Youth of Sándor Veress Sándor Veress被遗忘的青春

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00021

Anna Dalos

引用次数: 1

The Invisible Church: C. P. E. Bach, Die Israeliten in der Wüste ‒ A Freemasonic Oratorio? 看不见的教堂：C.P.E.巴赫，沙漠中的以色列人——共济会的清唱？

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00023

Miklós Dolinszky

引用次数: 0

New Insights into Debussy's Sketches for the String Quartet Op. 10 德彪西弦乐四重奏作品10小品的新见解

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00016

François Delécluse

{"title":"New Insights into Debussy's Sketches for the String Quartet Op. 10","authors":"François Delécluse","doi":"10.1556/6.2021.00016","DOIUrl":"https://doi.org/10.1556/6.2021.00016","url":null,"abstract":"\u0000 This article provides new perspectives on Claude Debussy's compositional process in his String Quartet through a fresh examination of existing sources, particularly a sketchbook kept in the Bibliothèque nationale de France. First, the fragmentary nature of the material contained in the sketchbook implies the existence of another manuscript, now lost. By analyzing Debussy's notations for his String Quartet in greater detail, it is possible to question the different functions the latter took on in the compositional process: in addition to the musical ideas simply noted as an aide-memoire, there are more exploratory musical fragments. Furthermore, the description and analysis of the sources of the String Quartet's creative process enhance our knowledge of Debussy's compositional methods and techniques. These new insights into the sources also show how Debussy adapted to certain social and aesthetic constraints when writing the String Quartet. The compositional context, the very genre of the quartet, and the fact that Debussy was close to Chausson and the Société nationale, led him to seek compositional solutions to combine the techniques of the Franck school with the personal aesthetic he was developing at the time. In particular, the article reconstructs part of the composer's reflection on the cyclic design, which is at the heart of the questions raised in the sketches.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45794173","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

Veronika Kusz (2020). A Wayfaring Stranger: Ernst von Dohnányi's American Years, 1949–1960 维罗妮卡·库兹(2020)。一个旅行的陌生人:恩斯特·冯Dohnányi的美国岁月，1949-1960

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00026

W. Everett

引用次数: 0

Ulrich Tadday (ed.), (2020). Musik-Konzepte Sonderband XI/2020. György Kurtág Ulrich Tadday（编辑），（2020）。XI音乐节/2020。György Kurtág

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00029

Viktória Ozsvárt

引用次数: 0

Concealed Fragmentariness: On the Compositional Process of Bartók's String Quartets 隐藏的碎片性:Bartók弦乐四重奏的创作过程

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00017

Yusuke Nakahara

{"title":"Concealed Fragmentariness: On the Compositional Process of Bartók's String Quartets","authors":"Yusuke Nakahara","doi":"10.1556/6.2021.00017","DOIUrl":"https://doi.org/10.1556/6.2021.00017","url":null,"abstract":"\u0000 The present paper is a preliminary study to a deeper understanding of Bartók's compositional process: how he filled the music paper even if the notation appears continuous. He did not always write the draft from the top-left corner to the bottom-right corner but occasionally skipped some measures or phrases that he intended to write down later. Thus, the continuity draft is not necessarily regarded as a continuity; it might have consisted of fragments but they have been eventually concealed in the final form of the draft. This may directly affect our interpretation of Bartók's creative process. The present research takes the visual appearance of a draft as a clue to examine its hypothetical fragmentariness. Beginning with the examination of some actual blank spaces that were never filled, the paper deals with cases where the original existence of fragments is suggested by the extraordinary appearance of the draft, such as a blank space at the end of a system, notations in the margin, re-organization of bar-lines, etc. Besides systematic approaches to fragmentariness, the author offers some interpretation concerning the reasons why Bartók did not write the draft in an ordinary way. There might have been different explanations for the interruption of the linear compositional process. One of the important findings of this paper is that Bartók's bar-lines do not always mark metric accents but sometimes simply facilitate the performers' orientation. Even though the occasional special function of some of his bar-lines as mere markers of orientation is explained by Bartók in a letter to Rudolf Kolisch, the existence of philological evidence to this effect may further underline its validity and importance.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43290501","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

Handel's Magic World: Hidden Complexity in Arias of Zoroastro in Orlando by George Frideric Handel 亨德尔的魔法世界：奥兰多琐罗亚斯德的咏叹调中隐藏的复杂性

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00022

Jing Xu

{"title":"Handel's Magic World: Hidden Complexity in Arias of Zoroastro in Orlando by George Frideric Handel","authors":"Jing Xu","doi":"10.1556/6.2021.00022","DOIUrl":"https://doi.org/10.1556/6.2021.00022","url":null,"abstract":"\u0000 This article examines Handel's opera Orlando from the period of the new Royal Academy of Music (1729–1734). Handel's operas contain many compelling musical elements which impart information and contribute to the richness of his dramatic acts. This article illustrates the various components of compositional practices such as harmonic progression, rhythm, key changes, and chromaticism in Orlando. The second part explores the application of his theatrical gesture of opera. His music releases the meaning of the texts and conveys the content of expression to the audience in a unique way. Finally, this article studies and examines the overture and three arias of the character Zoroastro from Handel's Orlando by comparing several adjacent arias as a group. By studying the role of Zoroastro, we will find that Handel's musical language in opera contains a hidden complexity displayed through the following: expression of tonality and key signature; certain qualities or characteristics of a wider range both in the vocal line and orchestra; and application of ostinato and cross-rhythm in order to enhance the textual meaning. The study shall benefit our ongoing comprehension of Handel's power for evoking the audience's interest, attention, and admiration which are identified when listening to, performing, and analyzing his arias.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49095095","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

Bartók's Most Daring Concept of a Palindromic Structure: The Sonata-Form Opening Movement of the Fifth Quartet Bartók最大胆的回文结构概念：第五重奏的奏鸣曲形式开场

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00015

L. Somfai

引用次数: 0