Artes. Journal of Musicology最新文献

{"title":"Greek-Romanian manuscript nr. 107 from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina in Iasi –an instance of the practice of bilingual church musicin Moldova at the end of the 18th century","authors":"I. Dănilă","doi":"10.35218/ajm-2023-0011","DOIUrl":"https://doi.org/10.35218/ajm-2023-0011","url":null,"abstract":"The present paper is part of a larger project, intended to catalogue the fund of musical manuscripts from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bukovina of Iasi and aims to highlight the repertoire and musical semiography of Ms. 107, which can be classified as a small scale Anthologhion in terms of the type of musical collection. What sets it apart from the rest of the codices in the Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina (abridged as LMCMB) of the Iasi manuscript fund is the exegetical, transitional medio-Byzantine musical notation, characterized by a small number of cheironomic signs. Ms. 107 is not dated, its Romanian copyist is not named. The repertoire of Ms. 107 consists mostly of chants for the service of the Divine Liturgy, such as The Sunday Cherouvikon Hymn, The Sunday and festive Koinonika. Some important chants from the Matins Service are also included, among which the Blessings and Polyeleoi should be mentioned. There are only two chants from the Vespers service, both in Romanian, namely Gladsome Light in the 2nd mode and the famous Moldavian Anixandaria by Iosif Monahul [Iosif the Monk], in the plagal of the 4th mode. The authors are classical Greek composers before the Chrysanthine reform (1814): Petros Lampadarios, Petros Byzantios, Nikiphoros Kantouniaris, as well as lesser names such as Anastasios, Vasiliu Stefanos Byzantios. The practice of bilingual Greek-Romanian liturgical chanting is an element of interest in this manuscript, as shown by two chants in this manuscript, first in Greek and then in Romanian: Blessings of the Resurection in the plagal of the tetraphonic 1st voice (leaves 2v and 5v respectively) and the Polyeleos Servants of the Lord, the plagal of the 1st voice (leaves 9v and 25), both of which are Petros Lampadarios’ compositions. Another special element is that although the author of the manuscript is Romanian, the content of the manuscript is mostly in Greek; it had been written in Moldova, most likely in the last decades of the Phanariotes’ rule (around 1790-1810), characterized by the supremacy of Greek culture in the Romanian Principalities (Bucescu, 2009, vol. II, p. 112).","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"244 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":"124689168","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":"Improvised musical performance as conversational language in jazz","authors":"Elisabeta Firtescu Campău","doi":"10.2478/ajm-2022-0015","DOIUrl":"https://doi.org/10.2478/ajm-2022-0015","url":null,"abstract":"Abstract Musical interpretation, in the form of the act of spontaneous composition, defined jazz throughout its stylistic evolution. Unlike other serious music, jazz has crystallised mainly due to the creative act of musical interpretation and less to the process of written musical construction. Within this cerebral musical genre, the act of performing took over as the fundamental role in the artistic communication between jazz musicians and audience but it especially took the form of an interrelation in the collective musical interpretation. The act of musical improvisation, in terms of jazz, is controlled by certain stylistic parameters, associated with form, phrasing and timbre, constantly relating to the harmonic, rhythmic and melodic planes. The standardisation of these parameters transformed jazz into a conversational musical language, which allows constant and organised communication between musicians through the phenomenon of interplay (the interaction of performers during the collective interpretive act). The principles of interplay are also integrated in the solo interpretation, especially in the case of pianists, who always improvise referring to the context and the relationship created between the accompaniment and the melodic plane. At the same time, just like verbal communication, mastering the jazz language involves reaching the level of free speech, with a spontaneous and contextual expression. This freedom of artistic expression involves the assimilation of the jazz language, creating a personal vocabulary and its use as a means of constructing authentic (spontaneously created) and eloquent musical discourses. Jazz language cannot be assimilated only through individual study, as is possible in the serious music of European tradition. The study and improvement of jazz musicians constantly depends on artistic socialisation and musical conversation. Jazz is a musical genre in continuous transformation, due to the fact that it is definitely more of an act of interpretation than of a compositional one. Jazz imposed musical interpretation as having the same contribution of creation with the compositional act, in terms of stylistic definition and crystallisation of an elaborated musical current or genre.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122138753","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":"New information in Romanian archives regarding the life and activity of musician Iosif Ivanovici","authors":"Mirela Lungu","doi":"10.2478/ajm-2022-0013","DOIUrl":"https://doi.org/10.2478/ajm-2022-0013","url":null,"abstract":"Abstract Iosif Ivanovici was - surprisingly today - the most well-known Romanian composer from the late 19th century and the early 20th century on the international music scene. He was also an important exponent of Military music in our country. Information regarding the life and works of Iosif Ivanovici can be uncertain even today because of the difficulty in accessing documents from the military archives or the indifference with which this prolific musician was treated by the Romanian musicologists and performers in the last century. Another important factor that leads to the disregard of his work was the communist censorship of any expressions and investigations into the cultural works, which involved members of the Royal Family of Romania or were dedicated to them. An important part of Ivanovici’s compositions fall into this category. His representative composition, The Waves of the Danuve waltz, is even today popular all over the world, being part of soundtracks of tens of movies or being picked up and adapted by hundreds of musicians on the entire planet. This fact proves to us that Iosif Ivanovici is more famous and loved outside of Romania. Because of the access that we have today to multiple documentary sources, I have found hundreds of songs composed by the musician. With the help of these, we can understand not only his musical creativity, but also the subtle, joyful world of the era in which he lived, the era of the development of the modern Romanian state. During my research in various national archives, I have found clear data that proves the true value of the musician. These bring us welcome additions to our knowledge of the life and works of Iosif Ivanovici, The king of Romanian Waltz.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"11 10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129381302","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":"Manuscript 105 from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bucovina in Iasi - an exemplary document of adapting chants to Romanian in Moldova","authors":"I. Dănilă","doi":"10.2478/ajm-2022-0010","DOIUrl":"https://doi.org/10.2478/ajm-2022-0010","url":null,"abstract":"Abstract Ms 105 from the “Dumitru Stăniloae” Ecumenical Library is an extensive Chrysantean Anthologhion, consisting of 236 leaves, written in Romanian with Cyrillic characters by copyist Hariton Vasiliu from Horaita Monastery (Neamt County), between 1857-1879. The chant content is specific to the musical collection this codex belongs to, namely the service of Vespers, Matins, and the Divine Liturgy, freely organized in the manuscript; for this reason, the typical ritual order could not be observed. The musical sources of Ms. 105 are exclusively repertoire collections in the Romanian language, mainly the psaltic prints circulated during that period (about 50% of the total). Their composers are initiators of the implementation of the Chrysantine reform in the Romanian Principalities: Macarie the Hieromonk, Anton Pann, Nectarie Frimu, Dimitrie Suceveanu – they were all important personalities who, through their works, contributed significantly to the replacement of church chanting in Greek with chanting in the “mother tongue” (i.e. Romanian). The other set of chants in Ms. 105 (50% of the total) are, however, from local manuscript sources and are mainly composed by unknown musicians.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129524453","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":"Speech melodies and “pinning down” the present in essays by Leoš Janáček and Milan Kundera","authors":"Leonard Dumitriu","doi":"10.2478/ajm-2022-0006","DOIUrl":"https://doi.org/10.2478/ajm-2022-0006","url":null,"abstract":"Abstract I ask myself the question: can those who compose music be called interpreters? Not of their own work but of the sonorities they imagine while writing. When composers take over (note on staves or record with technical means) sonorities from the environment, which they then use in their works, are they or not interpreters, in the sense of translating what they hear? Should we only mention Vivaldi and Haydn or, closer to us, Messiaen and Stockhausen, composers of all times have used, translated, interpreted the sounds of nature in their works. That is what the Czech Leoš Janáček does also, only that, by registering ambiental sonorities, he has a further goal, unlike the others: pinning down the present time. This idea is revolutionary in music, so it has drawn many researchers’ attention. A privilege of music, interpretation wears in literature the coat of exegesis. A great contemporary thinker, Milan Kundera is the author of the essay Testaments betrayed, in which he compares literature with music, having as references, among other writers, Hemingway and Kafka, which he joins with the great composers Stravinsky and Janáček. Fascinated by his fellow citizen’s musical-ontological concept, he dedicates the fifth part of the study to him, entitled Á la recherche du présent perdu. The study presents the way in which Janáček pins down the past in an own essay, Smetanova dcera (Smetana’s daughter), where he uses his renowned nápěvky mluvy (speech melodies). The result is amazing: through the daughter’s voice, one seems to hear the father, the great Bedřich Smetana’s voice in a fragment of life resurrected after time has passed. Kundera asks questions and formulates answers, interpreting, translating Janáček’s concept. This work does not interpret, but brings to the knowledge of the interested musicians aspects which, although belonging to renowned Czech intellectuals, enrich and embellish the spirituality of the world.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123372074","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":"History of Music – A Further Approach","authors":"C. Chelaru","doi":"10.2478/ajm-2022-0003","DOIUrl":"https://doi.org/10.2478/ajm-2022-0003","url":null,"abstract":"Abstract This essay emerged from an article in the press this year, regarding the ‘infamous’ decision of Oxford University to ‘give up teaching classical music in the name of political correctness’! My first thought was to take this journalistic excess seriously. However, knowing the prestige of this famous university, I wanted to know the real facts that caused this piece of news… and I soon found out the true data. Firstly: It is not – it cannot be! – about the elimination of classical music from the current academic and artistic activity. It is about the globalisation of musicologists’ interest and efforts toward the contemporary musical phenomenon. Secondly: The project called ‘Towards a Global History of Music’ was indeed initiated by the University of Oxford, but it was adopted and carried out by five other European universities, along with several internationally renowned musicologists outside the academic sphere. Thirdly: The project took place between 2013-2017, and in the years that followed, the main coordinator, Professor Reinhard Strohm, edited and published three volumes of studies on music from all over the world, in the past and nowadays, signed by researchers of the most diverse ages and backgrounds. Fourthly: They admit that the idea about a global musical history is not new - it goes back to more than two centuries ago, to the time of the Enlightenment of the 18th century. Fifth: What the historians, musicologists, ethnomusicologists, sociologists in question firmly and constructively assert is the correlation of the data provided by the observations and findings on the musical phenomenon of humanity. They thus insist on overcoming Eurocentric conceptions, in other words, approaching the musical phenomenon from anywhere in the world, without automatically relating it to models or units of measurement exclusively generated by European values or history. Moreover, a comparison between various musical phenomena in the world can help to explain and understand some realities, circumstances and, consequently, the elimination of some prejudices.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132939303","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":"Nikolai Myaskovsky – 140th birth anniversary. Rediscovering the composer in the present times","authors":"Mihaela-Georgiana Balan","doi":"10.2478/ajm-2022-0007","DOIUrl":"https://doi.org/10.2478/ajm-2022-0007","url":null,"abstract":"Abstract On the occasion of the 140th anniversary of composer Nikolai Myaskovsky’s birth, in the spring of 2021, in the city of Ekaterinburg there took place the Myaskovsky Dialogues festival dedicated entirely to the Russian composer, being one of the few musical events with a musical programme based on his works. Known as the “father” of the Soviet symphony, Nikolai Myaskovsky was one of the pillars of resistance in Russian music culture in the first half of the 20th century, managing to maintain a stylistic balance between traditional genres, harmonic language with innovative tendencies, ideas promoted within the new political system and a neutral way of integrating communist ideals musically. Although his contemporaries perceived him with respect and consideration, N. Myaskovsky was discredited after the tensions and political events of 1948, entering a shadow zone during the Cold War, until the fall of the Iron Curtain. Therefore, it was only in the last three decades that he was rediscovered in the music world, due to the interest given to his works by well-known conductors such as E. Svetlanov, V. Gergiev, V. Petrenko, V. Jurowski. In this paper, our aim is to accomplish a historical perspective on N. Myaskovsky’s rediscovery and his approach in concert programs, records, reviews, chronicles, articles, musicological studies, papers and volumes from the 1970s to the present.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128572677","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":"Sacred Music in Igor Stravinsky’s work. Symphony of Psalms","authors":"Viviana Farcaş","doi":"10.2478/ajm-2022-0012","DOIUrl":"https://doi.org/10.2478/ajm-2022-0012","url":null,"abstract":"Abstract Researching the music of the Russian composer Igor Stravinsky, devoutness is not the first attribute that I have offered it. He has remained in collective memory rather as a music revolutionary, not at all a pious spirit, bent towards divinity. The modernism of his works, the tendencies that he was the first to impose but especially the scandal that chaperoned him ever since the 1913 premiere of the ballet The Rite of Spring, all these have imposed him as a “rebel” of music in the early 20th century. The composer nevertheless claimed that his music was not modern but traditional. The order and discipline which constituted the pillars of his compositions go hand in hand with his claim, the return to tradition and his love for the ancient leading audiences towards the discovery of his mystical, religious side. A far too little explored direction in that period laden with marked social and cultural events was the composition of religious music. Too few of Stravinsky’s opera were inspired from sources of this nature – this is exactly why the discovery of and finding their meanings is important. One of the representative opera of this compositional direction is represented by Symphony of Psalms, considered to be a masterpiece placed in Stravinsky’s neoclassical compositional period. The work wanted to be a return to Christian values through a musical language adapted to the times, the music being led in the spirit of the Gregorian chant, simply, to which a text in the Latin language was added. The lines of the psalms chosen in order to be capitalised on underline his predilection for the complexity of religious feelings, departing from humble imploration to glorification. Thus, although this work firstly reflects a personal religious experience, at the same time it suggests the unbounded expression of constancy in faith of a community, which seems to participate in a collective prayer.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128574492","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 Parallel Model of Musical Research and Creation","authors":"D. Dediu","doi":"10.2478/ajm-2022-0001","DOIUrl":"https://doi.org/10.2478/ajm-2022-0001","url":null,"abstract":"Abstract Stages of both processes – research and creation – are depicted and proposed as tools for understanding the uniqueness of the musical triad: musicology, interpretation, composition. Although the borderlines between them are fuzzy and the interconnections powerful, we can find sufficient reasons to compare these different ways to obtain knowledge and to generate results in the field of music. The proposition of a single model for all three areas takes into account the following stages: information, analysis, design, processing (combining intuition with rational procedures), adaptation, finalization. Similarities between the processes of musical research and musical creation are expressed and emphasized with examples, maps and figures.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127295139","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":"Schubert’s “Tenth”: an Interpretation Between Construction and Restitution","authors":"Iulia Mogoșan","doi":"10.2478/ajm-2022-0005","DOIUrl":"https://doi.org/10.2478/ajm-2022-0005","url":null,"abstract":"Abstract In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical works, with a distinct approach. The intention of the British composer and conductor Brian Newbould was to finish the symphony in the way that Schubert himself would have done, anchoring the musical ideas from the sketches in the composer’s style. Peter Gülke approached the sketches through the eyes of the researcher and the analyst, with the intention of obtaining their most accurate and authentic reproduction, emphasizing the materialization of some of Schubert’s possible intentions. Finally, Luciano Berio manages in Rendering to musically render the sketches per se, imagining a musical fresco where the concrete musical ideas, written by Schubert, are deliberately mixed with the provisional character of the manuscript.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115453155","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}