Artes. Journal of Musicology最新文献

{"title":"Hesychia and Psalmody Today","authors":"A. Sîrbu","doi":"10.35218/ajm-2023-0003","DOIUrl":"https://doi.org/10.35218/ajm-2023-0003","url":null,"abstract":"The Romanian Patriarchate declared that the year 2022 was to be devoted to the commemoration of the Hesychast saints Simeon the New Theologian, Gregory Palamas, and Paisios of Neamț. This led us to the idea of discussing the connections between the tradition of Hesychasm and psalmody, even more so as Saint Paisios was one of the greatest supporters of psaltic music in the communities he shepherded. To what extent can we still speak of hesychia in psaltic chanting today, when many Orthodox parishes experience a state of stagnation or even degradation of chanting? Is hesychia an experience meant only for monks or can psalmody lead to hesychia even in the case of ordinary churchgoers?When we talk of psalmody, in the broad sense of chanting hymnographic texts, we refer to a sacred act of prayer expressed through different states of mind. These moods or ethe are the true music that springs from the inside and overflows outside through outward forms of expression such as one’s posture, facial expression, spoken words, and, finally, intoned melodies. All these forms expressing one’s inner ethe generate, in turn, different moods in the souls of those who listen and pray to the words and melodies of the chants. According to the teachings of the Holy Fathers of the Eastern Church, liturgical chanting creates a direct, extremely strong and mysterious connection between the inner experiences of the chanter and those who listen and receive these states of mind directly by audition. Therefore, the psaltis or chanter must know and be able to control all the objective or subjective factors that can create certain states of mind.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134443685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Luigi Dallapiccola - Models to promote creation in Florence, Italy","authors":"Emanuela Izabela Vieriu","doi":"10.35218/ajm-2023-0005","DOIUrl":"https://doi.org/10.35218/ajm-2023-0005","url":null,"abstract":"This study focuses on the ways in which the results of a composer's compositional and research activity are preserved, remaining current and practically building the bridge between the past and the future, connecting with past and future generations, with reference to the composer Luigi Dallapiccola, to his entire and rich activity, as well as to the Centro Studi Dallapiccola institution, in the city of Florence, Italy, where he worked for more than 40 years. The choice of the theme is due to the fact that in the same city I benefited from an Erasmus mobility, where I had the opportunity to make contact with the sounds and scores of the Istrian composer, during conferences, lessons, concerts and recitals. The introduction, as well as the second sub-chapter of the text, deals with the theme of the own Model and the Other`s Model, emphasizing as essential directions to follow: education, values, principles and traditions. I then led the content to the Model of the Other, namely the exposition of the ways in which the promotion of the composer's creation and musicological activity took place, by involving the 4 distinct and essential elements of the cultural-artistic environment: material culture, cultural infrastructure, non-material culture, technology and research; in short, the involvement of the institutions, the support of the Ministry of Culture, responsibility towards the legacy offered by the predecessors, respect towards creation. Then, in order to have a clearer picture, I detailed the attributes of each of the components of the artistic environment. I reported on the activity of Centro Studi Dallapiccola in the 4th chapter (3rd subchapter), where I highlighted the key moments, important in the expansion of events and the formation of connections with new institutions, up to the creation of a particularly well-organized infrastructure. Finally, the content is intended to be a suggestion towards taking some elements that fit Iași cultural space and applying them, with reference to the music of those Iași and/or Romanian creators.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123985742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Collision in new music. Cross-border perspectives in the study, research and manifestation of jazz","authors":"Mihaela Loredana Gârlea","doi":"10.35218/ajm-2023-0006","DOIUrl":"https://doi.org/10.35218/ajm-2023-0006","url":null,"abstract":"I start with the inclusion of jazz in the category of new music in the transition phenomenon from Romanticism to the polystylism of the 20th century and until contemporary times. The work Collision in new music. Cross-border perspectives in the study, research and manifestation of jazz aims to identify some of the general approaches regarding the scientific investigation of jazz in universities around the world, study methods, means of promoting jazz musicians, etc. The work will also bring several personal opinions from some Romanian musicians on the study and research of jazz abroad: pianist Ion Baciu Jr. (Sweden), trombonist Robert Cozma (Germany), trumpeter Emil Bîzgă (U.S.A.) and others.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126800234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The symphonic suite Scheherazade: the model of a multiprogrammatic conception","authors":"Oleg Garaz","doi":"10.35218/ajm-2023-0001","DOIUrl":"https://doi.org/10.35218/ajm-2023-0001","url":null,"abstract":"The symphonic suite Scheherazade (1888) attracts attention not only because of the beauty or oriental exoticism of Rimsky-Korsakov’s music. This programmatic musical narrative about a female narrator sparks the imagination itself. Moreover, the subject matter of this extraordinary work is primarily about the power of creative fantasy and equally about the ability of fiction to shape both human character and reality itself. All the more surprising is such a postmodern interpretation of the female figure in a work belonging to a national school of the 19th century. Or, in the terms of contemporary knowledge, this symphonic suite, having as its subject some stories from the famous collection 1001 nights, reveals itself as a genuine psychodrama in which the intelligence of a young woman wins in a merciless confrontation for survival, but by even curing the man who was going to kill her. In the end, it is surprising the case of this compositional conception, which without losing its expressive freshness, proves both its actuality and, above all, its fecundity through the ability to accommodate several hermeneutic scenarios in the same sound form.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130353310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stylistic Confluences: the National Ethos and the Universal in the Artistic Development of Chopin, Enescu and Silvestrov","authors":"Cristina-Nicoleta Șoitu","doi":"10.35218/ajm-2023-0004","DOIUrl":"https://doi.org/10.35218/ajm-2023-0004","url":null,"abstract":"The model of Creation is one that reveals the usefulness, meaning, and beauty of “sharing”. Artistic creation, in the present study the musical one, is explained at least by the understanding, or knowledge beyond the individual limit of the creator, or by the precept of externalization, even if this is a revelation to a single being or to God. Frédéric Chopin, George Enescu and Valentin Silvestrov are composers who, in different periods, seek, in their artistic development, to value national elements, but also a way of integrating them into what is called „universal,” therefore an addressability that crosses country borders, towards a human space, that of the soul. Of different nationalities, Polish, Romanian and Ukrainian respectively, these musicians know and live in other cultures (Chopin and Enescu in Vienna and Paris, Silvestrov in Berlin), which help them to create in the spirit of a synthesis, a reinterpretation, a metaphor. In this way, we point to a mutual way of understanding the composition, determined by an informational-spiritual interchange, dialogue and national feeling. The confluences of knowledge and dialogue build personality, and the accumulation gives rise to the desire for a choice, to obtain one's own expression. The national feeling is the element that in this unique synthesis is an emblematic shade which transmits identity data in music, such as a physical location or one related to the sensibility of a people. The processing of national symbols does not constitute a constraint in the creation of the mentioned composers, because this transformation relates to a reception of the “other” who can come from any ethnicity or represent it in any place in the world. These observations can be explained in relation to the scores of some instrumental works (for solo piano and for violin and piano) by Chopin, Enescu, Silvestrov. The biographical data and the analysis of the works lead to the understanding of the musical style of each one, built from within itself, through the proximity of the self – “the other”, and in itself, through reformulation and rediscovery; but one's own style, which defines the self, also reveals itself to the “other”.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130736584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Richard Taruskin - “Titan” of Universal Musicology. On the Fascination and Imperative of Cursed Questions","authors":"Mihaela-Georgiana Balan","doi":"10.35218/ajm-2023-0002","DOIUrl":"https://doi.org/10.35218/ajm-2023-0002","url":null,"abstract":"On the first day of July 2022, the headline of an article in the New York Times officially announced the passing of the great American musicologist Richard Taruskin. The news of the loss of a world-renowned researcher, whose prolific activity changed ancient paradigms of musical thought, constitutes an impetus for the new generations of musicologists of the 21st century in approaching music history and analysis from a new, multi-branched and integrative perspective, constantly adaptable to the reality of our days. The present study aims to systematize and promote the ideas gathered in the last volume published during the author’s lifetime, Cursed Questions: On Music and Its Social Practices (2020), which comprises in a condensed form Taruskin’s conceptions regarding the relationship between music, external factors and the other adjacent disciplines (aesthetics, philosophy, sociology).","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124651949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The concept of Christian symbolism in Sieben Worte for cello, bayan and strings by Sofia Gubaidulina","authors":"Lucian Cheran","doi":"10.35218/ajm-2023-0009","DOIUrl":"https://doi.org/10.35218/ajm-2023-0009","url":null,"abstract":"The personality of the composer Sofia Gubaidulina represents a model of creative force, being an active presence from the second half of the XXth century until today. Her compositional style is tributary to a so-called moderate avant-garde, in which innovative language techniques are intertwined with certain elements belonging to the legacy left by the great composers of music history. The interest in spirituality and religion is demonstrated through a compositional concept called Christian symbolism, applied in many works. Of these, Sieben Worte for cello, bayan and strings is a special one by the versatility of the use of Christian symbols, differentiated in certain distinct typologies, which place this piece among the most unique concert creations of the '80s.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116632455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A retrospective of vocational music education in the post-war period","authors":"Carolina Karoli","doi":"10.35218/ajm-2023-0007","DOIUrl":"https://doi.org/10.35218/ajm-2023-0007","url":null,"abstract":"Currently, Romanian pre-university music education has a considerable experience accumulated over seven decades, during which it manifested its direct contribution to the evolution of the entire Romanian musical culture. An empirical research from a historical point of view, of the institutional management process from the post-war period, contributes to the outline of a general picture of Romanian vocational music education. Through this study, we want a synthetic analysis of the vocational musical educational process between 1949-1989, which represented the period of the communist regime. The content of the article chronologically approaches the main events regarding the social, demographic and educational context, starting from the first school formations of middle level music education until the revolution. At the same time, the synthetic research follows the evolution and development of the organization and functioning of the schools, the didactic process and the didactic means used from this period, all of which are synthesized in the finality of this educational process. The collaboration of music schools with the cultural environment on the one hand, and with the educational sciences, on the other hand, with pluses and minuses, secondary music education has left its mark over time, by educating and training many generations of young people with artistic potential from that period.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115961436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Syncretism and synaesthesia in music – unification of arts and perceptions","authors":"Rosina Caterina Filimon","doi":"10.35218/ajm-2023-0010","DOIUrl":"https://doi.org/10.35218/ajm-2023-0010","url":null,"abstract":"Archaeological and ethnological research has revealed that, since antiquity, music had a syncretic nature. Music, dance, and poetry made up a single whole, aiming at expressing human feelings, sensations and perceptions through melody, rhythm, words, and gestures, and accompanying everyday activities that had various functions. Artistic syncretism is doubled by another structural principle – synaesthesia. The brain process that unifies senses and perceptions, synaesthesia is defined as the spontaneous association of several senses and sensations, in response to the action of a single stimulus. People with the so-called colorful hearing associate auditory reception with the perception of colorful images. Many artists had this ability that was reflected in their artistic creation. Initially the fusion of music and color was researched by theorists, who tried to create musical instruments that would be able to radiate colours during the musical interpretation. The syncretic and synaesthetic relationship between sound and image is individualized at the beginning of the twentieth century. Starting with the Dadaist and futuristic trends, artists seek and discover new forms of expression that unite the audible and the visual in a single form of representation. At present, the interaction between arts is seen as a fact, common also due to multimedia technology that allows the creation of synthetic, syncretic and synaesthetic ambiances, in which perception takes place at a multisensory level, changing the listener's one-sided perception. The art of sounds plays an essential role in syncretism and synaesthesia in music: in the first case, music participates in defining complex forms of artistic manifestation, and in the second, music generates sensations at the level of several senses. The listener benefits from new forms of artistic expression through which the transfer of the states and feelings of the artist to the listener occurs.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115003568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musical semantic exercises: understanding music and the search for a plausible hypothesis","authors":"Oleg Garaz","doi":"10.35218/ajm-2023-0008","DOIUrl":"https://doi.org/10.35218/ajm-2023-0008","url":null,"abstract":"How could be evaluated the contents that an articulated musical structure contains and expression? In a first moment, the answer causes a “scrolling” in at least three models of representation distributed between the composer, the performer and the audience. But all three performers are part of a larger whole that is society. But this, in turn, “defoliates” into three entities that define its evolutionary dynamics: the past (history), the present (the realization of inherited values and the formulation of one's own values) and the future (perspective goals), after which follow the historical types of organizing large human groups, each with its own imagination, values and goals. Next come the institutions specialized in the formulation and maintenance of musical life, but also in the conservation of representative works and names as a canon. And some (the composer and the performer) and the others (the public) will exist in a specific, temporal-historical and spatial-geographical pool of the collective imaginary, which will first of all define what is the social command, with which willy-nilly the musician will comply, but will also try to reformulate its contents. And in the European space, one with an intensely evolutionary history, there will be ceaseless grateful battles for the adjustment of music to the new consensual states of the collective consciousness. And every time, the music will represent a faithful emulation as content of the convergence of all actants, states and conjunctures, evolving together with them and thus advancing towards a new and new music every time. In the end, the sacramental question What is music? he will not find an answer other than a partial one. An honest answer, formulated exactly in the spirit of Bach's obedience, in the word übung, which means exercise. In the mysterious questions of Pascal Bentoiu. As well as in the text of this study.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131290812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}