Artes. Journal of Musicology最新文献_第10页

Luminița Duțică – An Exceptional Collection of Musical Studies Luminița Duțică -音乐研究的一个特殊的集合

Artes. Journal of Musicology Pub Date : 2018-03-01 DOI: 10.2478/ajm-2018-0016

Petruța-Maria Coroiu

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Interpretative and Compositional Connotations from a Musicological Perspective 从音乐学的角度看阐释与作曲的内涵

Artes. Journal of Musicology Pub Date : 2018-03-01 DOI: 10.2478/ajm-2018-0008

Nelida Nedelcut, Lucian Ghișa

{"title":"Interpretative and Compositional Connotations from a Musicological Perspective","authors":"Nelida Nedelcut, Lucian Ghișa","doi":"10.2478/ajm-2018-0008","DOIUrl":"https://doi.org/10.2478/ajm-2018-0008","url":null,"abstract":"Abstract Musicology, viewed as a general science regarding all the defining elements of music, can approach compositions using hermeneutical methods, both through a critical view on the interpretation, the stage performance of the creative act, and through the subsequent musicological writings, becoming a “meta-interpretation” that requires a thorough exegesis. The couplet hermeneutics-interpretation together with that of compositional concept versus stage production are the ones underlying our research, while hermeneutics is the very art of performing that penetrates the most cryptic elements present in the musical act, viewed from the perspective of the triad creation-interpretation-reception. In an attempt to emphasize the ways in which the composer suggests to the performer certain indications for stage performance, through writing, agogics, dynamics and special sound effects, we intend to study, from the standpoint of the musicologist, the piece 5 tablouri cu umbre(le) 1 by Constantin Rîpă. Built on a structure of five tableaux, the work comprises fifteen songs on poems by five contemporary Cluj poets and outlines a new concept of musical performance, which aims to experiment in composing music with the idea of the primordial nature of the poetic text, which is associated with elements of motion and gestures of the interpreters and is based on an arbitrary compositional concept, a defining technique that can be found in a great part of the choral creation of this composer.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131749033","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}

引用次数: 0

The Subject – A Key Element of the Fugue Form during the 20th Century 主题——20世纪赋格曲式的关键要素

Artes. Journal of Musicology Pub Date : 2018-03-01 DOI: 10.2478/ajm-2018-0010

Gabriela Vlahopol

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Four Centuries of Lied with Grigore Constantinescu 与格里高利·康斯坦丁内斯库共度四百年

Artes. Journal of Musicology Pub Date : 2018-03-01 DOI: 10.2478/ajm-2018-0015

L. Iațeșen

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The “spirit” of the old communion chants 旧圣餐圣歌的“精神”

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/AJM-2018-0001

A. Sirbu

{"title":"The “spirit” of the old communion chants","authors":"A. Sirbu","doi":"10.2478/AJM-2018-0001","DOIUrl":"https://doi.org/10.2478/AJM-2018-0001","url":null,"abstract":"Abstract Byzantine music is the chanted prayer of the Orthodox Church left to us as a spiritual legacy by the holy masters of hymnography and hymnology ever since the early centuries. This music serves a precise purpose, i.e. to enhance the mood of prayer and to lift man closer to God. The Holy Liturgy, the mystical centre and the reference point of a man’s entire existence, represents man’s private meeting and communion with Christ, and the moment of this meeting is steeped in an atmosphere of meditation and inwardness created by a series of ample, slow, and vocalization-rich chants, called koinonika. It is a moment of ultimate inner appeasement and preparation. Early composers managed to capture this meditation effect in their koinonika, both through their compositional techniques and, especially, through an inner state of grace. However, in the 19th century, two phenomena became apparent: on the one hand, some of the new composers no longer succeeded in attaining the same ethos as the old masters, and, on the other hand (particularly from Ioan Popescu-Pasărea on), the music tastes of the time caused these ample chants to be replaced with simpler melodies, which, often, were even harmonized. This study has a threefold aim: first, it reasserts the fundamental role played by the koinonikon in the Holy Liturgy, by arguments that underline the ancientness of this practice as well as its survival in other Orthodox areas (such as Mount Athos and Greece). Second, the paper signals the publication, next year, of the first Romanian collection of koinonika signed by Byzantine and post-Byzantine composers (13th-19th centuries). Third, our study aims to show that these ancient chants have a special ethos, representing melodic as well as aesthetic archetypes and, par excellence, the true Classicism of Byzantine melos.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130549403","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}

引用次数: 1

Petruţa Măniuţ-Coroiu – A Philocalic History of Music

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/AJM-2018-0006

Luminița Duțică

{"title":"Petruţa Măniuţ-Coroiu – A Philocalic History of Music","authors":"Luminița Duțică","doi":"10.2478/AJM-2018-0006","DOIUrl":"https://doi.org/10.2478/AJM-2018-0006","url":null,"abstract":"Abstract The volume titled O istorie filocalică a muzicii [A Philocalic History of Music] by the musicologist Petruța Măniuț-Coroiu offers an unusual approach to the relationship between music and religion. At the core of its demonstration lie the possible relations between the texts in the Ladder of the Divine Ascent from the Philokalia of Saint John Climacus and the masterpieces of Romanian and universal art music. In this volume, the author presents, step by step, the 30 “words of wisdom” without straying from the original text, using direct quotes from Saint John Climacus’ work, putting forward topics such as the renunciation of the world, repentance, obedience, humility, etc. The steps, representing the ladder of spiritual fulfilment, should be climbed so as to leave a mark on the souls of those who ascend. It is worth remembering than once a step is reached the others should not be forgotten, but furthered for the rest of one’s life. Each of the 30 chapters is preceded by quotes from the Old and the New Testament, or from the writings of great representatives of the Orthodox faith (Saint John Chrysostom, Maximus the Confessor, Dumitru Stăniloae). Besides the semantic dimension specific to this kind of approach, the book may also be linked to the field of art therapy. It is worth noting the author’s easiness in identifying the most representative religious texts and their matching musical pieces, as this fusion produces numerous opportunities to acquire apophatic knowledge and intense spiritual experiences.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127913464","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}

引用次数: 0

Archdeacon Sebastian Barbu-Bucur PhD – Researcher of the Byzantine Musical Tradition across the Romanian Territory 总执事Sebastian Barbu-Bucur博士-研究罗马尼亚领土上的拜占庭音乐传统

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/ajm-2018-0004

Elena Chircev

{"title":"Archdeacon Sebastian Barbu-Bucur PhD – Researcher of the Byzantine Musical Tradition across the Romanian Territory","authors":"Elena Chircev","doi":"10.2478/ajm-2018-0004","DOIUrl":"https://doi.org/10.2478/ajm-2018-0004","url":null,"abstract":"Abstract Professor Archdeacon Sebastian Babu-Bucur PhD is one of the most prominent representatives of Romanian Byzantology with a tireless activity spreading throughout different fields – research, psalmic musical creation, teaching, performing. Our study focuses briefly on several of the researcher’s achievements, some of his main concerns having been the Romanianisation process of the church chant in the 18th century and the manuscripts elaborated by Romanians. We highlighted the merits of the Byzantinist musicologist who contributed to the discovery of most of the Romanian manuscript no. 61 in the Romanian Academy Library, who tracked down and catalogued over 250 Romanian manuscripts to be found in the libraries from Mount Athos, who demonstrated through documenta and transcripta editions the significance of the activity of various Romanian psalm readers whose contribution to the translation of chants in Romanian had been, up to that moment, almost unknown. Archdeacon Sebastian Babu-Bucur’s tireless work as a researcher of Byzantine music contributes to a better knowledge and understanding of the evolution of this type of music in the 18th and the 19th century and leads the way towards new investigations in the years to come.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129265720","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}

引用次数: 0

The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries 拜占庭圣歌中的阿莫莫斯:强调19世纪和20世纪音乐背景的历时方法

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/ajm-2018-0002

Dimos Papatzalakis

{"title":"The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries","authors":"Dimos Papatzalakis","doi":"10.2478/ajm-2018-0002","DOIUrl":"https://doi.org/10.2478/ajm-2018-0002","url":null,"abstract":"Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120980452","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}

引用次数: 0

Constantin Catrina – a life in the service of the Romanian music 康斯坦丁·卡特丽娜——为罗马尼亚音乐服务的一生

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/ajm-2018-0005

I. Dănilă

{"title":"Constantin Catrina – a life in the service of the Romanian music","authors":"I. Dănilă","doi":"10.2478/ajm-2018-0005","DOIUrl":"https://doi.org/10.2478/ajm-2018-0005","url":null,"abstract":"Abstract A complex personality, with multifarious concerns in research as well as in composition, Constantin Catrina (1933-2013) was active as a folklorist, historian, musicologist, Byzantinologist, composer; he dedicated his entire life to the research of the Romanian music, viewed in all its manifold manifestations: folklore music, Orthodox church music of the Byzantine tradition as well as lay music. His investigations were directed mainly towards the area of Brasov and its surroundings. He diligently studied documents about the musical life of the city in archives and libraries, discovered interesting information about the cultural personalities of this old Transylvanian city, with rich cultural traditions and diverse influences. He also managed to reveal their connections with other cultural centres in Romania. He was a pioneer in the field of Byzantinology, filling a space left empty in the history of Byzantine music by emphasizing the activity of an important centre of church music teaching and education in central Transylvania – the School of “Saint Nicholas” Church in Scheii Brasovului between the 15th and 20th centuries. In terms of folklore research, he investigated the areas related to Brasov and collected a rich ethnographic, literary and musical material which he published in reputable collections. In all three lines of activity, he wrote and published an impressive number of articles in the local and specialised national press, thus proving to have a genuine passion for research and for the dissemination of its results to the specialists and the general public.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130867132","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}

引用次数: 0

Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902) 大都会圣歌中父性的各个方面(1818-1902)

Artes. Journal of Musicology Pub Date : 1900-01-01 DOI: 10.2478/ajm-2018-0003

C. Scurtu

{"title":"Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902)","authors":"C. Scurtu","doi":"10.2478/ajm-2018-0003","DOIUrl":"https://doi.org/10.2478/ajm-2018-0003","url":null,"abstract":"Abstract The Romanian Orthodox Church in the 19th century and the first half of the 20th century had a valuable generation of hierarchs protopsalts, composers, translators and promoters of the psaltic music of the Byzantine tradition. From this exceptional generation, Iosif Naniescu is the most valuable composer and interpreter of the 19th century psaltic music. By his rich musical work, Metropolitan Iosif stands out as a reference point for the composition and translation of Greek psaltic chanting. Thanks to the original compositions and translations from the old music notation system, Iosif Naniescu may be included among the promoters of the Christian music notation system in our country alongside Macarie the Monk (with whom he would collaborate), Anton Pann (with whom he bound a close friendship between 1839-1854), and Dimitrie Suceveanu (whom he promoted as a protopsalter of Moldavia). The quality of his performance is highlighted by the countless written testimonies over time. Iosif Naniescu shows a special talent and zeal in his widespread work of over 100 musical manuscripts (stored in our country and in the Holy Mountain of Athos); he is also acknowledged for the Psalms of Time, which he copied in anthologies besides his own chants. Therefore, the present article comes to assert the origins of his chants and pays tribute to classical music of Byzantine tradition.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115965128","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}

引用次数: 0