Studia Musicologica最新文献_第9页

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":"60 1","pages":"327-347"},"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

Heaven and Hell Performances of Liszt’s Works and their Reception in Rome, 1861–1886 天堂与地狱:李斯特作品的表演及其在罗马的接受，1861-1886

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00009

Elisabeth Reisinger

{"title":"Heaven and Hell Performances of Liszt’s Works and their Reception in Rome, 1861–1886","authors":"Elisabeth Reisinger","doi":"10.1556/6.2019.00009","DOIUrl":"https://doi.org/10.1556/6.2019.00009","url":null,"abstract":"Although the period of Liszt’s residency in Rome is marked by pivotal events, many aspects concerning his networks, activities, and relevance in the city’s musical life still await musicological scrutiny. The present paper examines which of Liszt’s compositions could have been heard in Rome by a broader audience during the time the composer had his permanent residence there, and which pieces received attention from the Italian press. Although the performances of the Dante Symphony in 1866 and Christus in 1867 are to be understood as key events in the Roman perception of Liszt as a composer of symphonic music, performances in this genre remained a rarity throughout the 1860s. By then, it was primarily Liszt’s piano music which was heard both in private and more public settings, mainly popularized by Liszt’s student Giovanni Sgambati. Together with the violinist Ettore Pinelli, Sgambati was also key to staging Liszt’s symphonic music with full orchestra during the 1870s and 1880s. Focusing on these decades, this paper eventually elaborates the consolidation and canonization of Liszt’s music and the lasting implications of the Liszt–Sgambati–Pinelli circle on Rome’s concert repertoire after the Italian unifcation.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"169-185"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47001911","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

“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":"60 1","pages":"103-114"},"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

The Harmonization of Folk Songs in Kodály’s Workshop Kodály工作坊民歌的和声

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00013

P. Richter

引用次数: 0

The Influence of Scientific Theories on Musical Form in Contemporary Instrumental and Electroacoustic Works 科学理论对当代器电作品音乐形态的影响

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00007

Márta Grabócz

引用次数: 0

Parlando Rubato György Kurtág and Hungarian Folk Music 说偷戈瑞ö是库尔特·rgyág和Hungarian民间音乐

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00006

Anna Dalos

引用次数: 1

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí 《扎瑞拉在布达佩斯的到来》(The Arrival of The Zarzuela in Budapest)，作者:Ruperto chapi

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00012

G. A. Rodriguez-Lorenzo

引用次数: 0

“Ecco la marcia, andiamo...” Mozart and the March “进行曲来了，我们走吧……”莫扎特和进行曲

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00008

J. Kárpáti

引用次数: 0

Mahler: Music, Reception, Identity 马勒：音乐、接收、身份

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00011

L. Péteri

{"title":"Mahler: Music, Reception, Identity","authors":"L. Péteri","doi":"10.1556/6.2019.00011","DOIUrl":"https://doi.org/10.1556/6.2019.00011","url":null,"abstract":"Writings on the socio-cultural complexities of Mahler’s identity and his music in context vary in relation to four basic motifs: his Jewishness; his Germanness; the partly Slav environment of his early years; and his relationship to the Austro-Hungar-ian Dual Monarchy. Studies combine these elements, or privilege one above another. It may help to rethink this subject if we consider that his self-awareness formed amid a changing social environment; if his personal identity will be studied in the context of the identity history of his family; and through scrutinizing the decisive socializing role of the localities in which he lived. These conclusions can reveal the unparalleled mobility of his career in a rapidly-transforming context. Late nineteenth-century Central European societies drew at once on the “past” (post-feudal, pre-modern attitudes and practices), “present” (constitutionalism based on equal civilian rights, and nationalism), and “future” (populist and racist ideologies questioning the enlightened, liberal consensus). All three impacted not only Mahler’s identity, but his image: how the surrounding society perceived him. These approaches also facilitate critical readings of the contemporaneous attempts to embed Mahler’s music in national, regional, and ethno-cultural contexts. This paper examines the reception of the third movement of Symphony No. 1 as a case study, exploring how Mahler’s construed images were reflected in different interpretations of this music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"219-242"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49352709","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 Danish Première of Alban Berg’s Three-Act Lulu A Contextualized Oral History of a European Capital of Culture Event in 1996 1996年阿尔班·伯格的《露露:欧洲文化之都事件的语境化口述历史》的丹麦首演

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2020-10-21 DOI: 10.1556/6.2019.00004

Vanja Ljubibratić

{"title":"The Danish Première of Alban Berg’s Three-Act Lulu A Contextualized Oral History of a European Capital of Culture Event in 1996","authors":"Vanja Ljubibratić","doi":"10.1556/6.2019.00004","DOIUrl":"https://doi.org/10.1556/6.2019.00004","url":null,"abstract":"In 1996, Copenhagen was awarded the title European Capital of Culture. Amongst its most publicized events was the Danish and Scandinavian première of the complete version of Alban Berg’s opera Lulu. In this study, an oral history methodology is applied to draw conclusions regarding the significance, reception, and legacy of Lulu in Copenhagen from the perspectives of four Danish administrative leaders involved in this production, who, through interviews, reflected on this project within the context of Copenhagen’s cultural landscape. Their testimonies depict a narrative of how this production established a new perspective of opera in Copenhagen, as well as the innovation of performing opera at unique venues not usually associated with this genre. This phenomenon contributed to attracting a wider audience demographic, who would be less receptive to more traditional methods of opera staging. Furthermore, it was established by the Lulu project instigators that the production depicted Danish cultural identity, while simultaneously promoting an international cooperation and an international standard of artistic execution.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"69-101"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49166893","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