Studia Musicologica最新文献_第4页

Bartók: The String Quartets • Bartók：弦乐四重奏•

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00014

László Vikárius

引用次数: 0

Adoption and Transformation of Traditional Forms in the Fourth String Quartet of Béla Bartók 巴萨拉斯第四弦乐四重奏对传统曲式的采用与转化Bartók

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00018

G. Borio

引用次数: 1

Ulrich Tadday (ed.), (2021). Musik-Konzepte 192/193, IV/2021 Ulrich Tadday（编辑），（2021）。音乐概念192/193，IV/2021

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00028

Viktória Ozsvárt

引用次数: 0

Die Serenata con una Cantatina von Ignaz von Seyfried (1805) Serenata contatina in Ignaz, Seyfried

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00024

David Gasche

引用次数: 0

Zoltán Kodály and Hungarian Dance Zoltán Kodály和匈牙利舞蹈

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00020

István Pávai

{"title":"Zoltán Kodály and Hungarian Dance","authors":"István Pávai","doi":"10.1556/6.2021.00020","DOIUrl":"https://doi.org/10.1556/6.2021.00020","url":null,"abstract":"\u0000 In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for Bécsi harangjátek [Viennese Clock], a movement which imitates a musical clock in Kodály's Singspiel Háry János. The movement entitled Branle de village, part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's Partita ex Vienna, contains some bars that bear a close resemblance to the repeated main motif of Kodály's Viennese Clock. It is safe to assume that Branle de village was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67003856","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

Nicolòe Palazzetti (2021). Béla Bartók in Italy: The Politics of Myth-Making Nicolòe Palazzetti(2021)。bsamla Bartók在意大利:制造神话的政治

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2022-06-28 DOI: 10.1556/6.2021.00025

M. Gillies

引用次数: 0

Bartók and the Violin Bartók和小提琴

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00001

引用次数: 0

A Triumph of Musical Order? Multiple Sources of Inspiration in “Prelude and Canon,” Forty-Four Duos no. 37 音乐秩序的胜利?《前奏曲与佳能》的多重灵感来源。37

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00008

Yusuke Nakahara

{"title":"A Triumph of Musical Order? Multiple Sources of Inspiration in “Prelude and Canon,” Forty-Four Duos no. 37","authors":"Yusuke Nakahara","doi":"10.1556/6.2021.00008","DOIUrl":"https://doi.org/10.1556/6.2021.00008","url":null,"abstract":"\u0000 It has been a hot topic in Bartók literature whether he followed some particular order, or relied on creative intuition when he composed. His own statem ents appear to be ambiguous, that is, he occasionally stressed that he consciously worked out his musical language, but on other occasions he emphasised the role of intuition. A contrapuntal short piece from the Forty-Four Duos, namely no. 37 “Prelude and Canon”, can be considered an appropriate material in order to examine how these different viewpoints are applied in an analysis (and to evaluate how appropriate the application of these viewpoints is). From a technical point of view, the Canon part of this piece deserves special attention, as it contains three different types of canon one after another. While the dux always remains in E, each comes is on different degrees (G, A, then B) and different temporal distances (one, two, and three crotchets). This can be regarded as a kind of compositional virtuosity; especially because it is not easy to write such canons on an original theme, much less on an original folk tune. Thus, this piece might be considered an example of how Bartók rationally and consciously worked out his compositions. Such a view can be refined, or possibly superseded by the examination of the original folk tune. The genre of the original folk tune, “párosító” [matchmaking song], as well as the way of its actual performance on the original recording gives us an insight into how an apparently systematic application of the compositional technique is nevertheless related to what we would call a secret programme. Thus, it was probably not only a particular folk song but also the people's life surrounding the folk song which fascinated the composer, and he tried to vividly encode a typical village scene into a piece of art music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260235","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

Imre Waldbauer, an Important but Little-Known Violinist Partner of Béla Bartók Imre Waldbauer，一位重要但不为人知的小提琴家bsamula合作伙伴Bartók

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00010

Imre Waldbauer

{"title":"Imre Waldbauer, an Important but Little-Known Violinist Partner of Béla Bartók","authors":"Imre Waldbauer","doi":"10.1556/6.2021.00010","DOIUrl":"https://doi.org/10.1556/6.2021.00010","url":null,"abstract":"\u0000 Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of important violin works by Bartók: the “One Ideal” from the Two Portraits, (première: Budapest, 12 February 1911), the Violin Sonata no. 2 (première: Berlin, 7 February 1923) and nos. 16, 19, 21, 28, 36, 42, 43, 44 from the Forty-Four Duos (concert hall première: Budapest, 20 January 1932). Although Waldbauer seems like an individual of special importance, very little is known about his relation to Bartók and about his life in general (unlike his violinist contemporaries, e.g. Joseph Szigeti or Zoltán Székely). The present paper focuses on the relationship between the composer and the violinist, using materials from the yet unexplored Waldbauer legacy held in the Budapest Bartók Archives (recent donation from the Waldbauer family).","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42522462","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, Biography, and the Violin Bartók，传记和小提琴

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00002

{"title":"Bartók, Biography, and the Violin","authors":"","doi":"10.1556/6.2021.00002","DOIUrl":"https://doi.org/10.1556/6.2021.00002","url":null,"abstract":"\u0000 Biography takes the scant facts of a life that are available to scrutiny, like the waypoints on a journey to be mapped, and attempts to form a coherent narrative from them. That coherence is, to at least some degree, contingent upon the ideological position of the author and as Michael Benton has noted, “the biographical subject is a textual creation as much as a historical recreation.” While fully acknowledging that one cannot “read back” from the works of an author to their life, Benton has described the substance of literary outputs as “quasi-facts” to be set beside “historical facts” and argued that these “can be seen as reflecting some contemporary events or as sublimating some experiences in the writer’s past or mirroring some authorial state of mind.” This article draws on the First Violin Sonata as such a quasi-fact of Bartók’s life to question whether biographical information can or should impact the ways that we understand and perform his music. The article additionally considers whether the content of individual works as mental products may have something tangible to impart about their composer’s personality. Given the broad consensus around the so-called “Five-Factor Model” of personality measurement within the field of psychology, it speculates whether this might offer a tool to refine our portrait of Bartók through analysis of his music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43999935","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