Artes. Journal of Musicology最新文献

{"title":"The Book of Honor of the Iași Conservatory Returned Home!","authors":"C. Chelaru","doi":"10.2478/ajm-2019-0017","DOIUrl":"https://doi.org/10.2478/ajm-2019-0017","url":null,"abstract":"Abstract The Iași Conservatory Book of Honor was initiated in 1926, when the headmaster of the institution was the cello teacher Nicolae Theodorescu (between 1924-1930). I tried to describe the adventure of this document of great importance for the history of Iaşi culture, in the following episodes: personalities and events mentioned in the Book; the disappearance of the Book from the Conservatory archive in 1950, under circumstances still unclear; rediscovery and presence in D. Grumuzescu’s collection; returning to the patrimony of the “George Enescu” Art University of Iasi. This text is an extension of the one published in “Filarmonica Magazine”, in April 2015.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123695728","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 Bretan Case: a Paradox between Value and Promotion","authors":"L. Iațeșen","doi":"10.2478/ajm-2019-0005","DOIUrl":"https://doi.org/10.2478/ajm-2019-0005","url":null,"abstract":"Abstract On the occasion of the 50th anniversary of the passing of the Transylvanian musician Nicolae Bretan (1887-1968), known during the interwar period due to his complex field of activity (interpreter, director, conductor, composer), we consider it necessary to elaborate a study that is critical for several reasons. Starting with the dilemmatic comments existent in the current bibliography, we propose, on the one hand, to systematize the information regarding the reception of his personality in the context of the age in which he lived and worked, and on the other hand, to outline the premises that generated the appearance of controversial writings, but especially to question their effects on the deformed stylistic perception of the musician at national and international level. We consider that this is one of the ways in which the “phenomenon of Bretan’s rebirth” can be objectively reevaluated, appreciating the existence and real contributions of a minor musician, who, although endowed with talent, could not be in the same compositional direction that included national models (George Enescu, Mihail Jora, Paul Constantinescu), are comparable to those in the universal space of the first half of the 20th century.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131474628","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":"Sound Banks – a Priceless Aid in Contemporary Music Writing","authors":"Cătălin Răsvan","doi":"10.2478/ajm-2019-0012","DOIUrl":"https://doi.org/10.2478/ajm-2019-0012","url":null,"abstract":"Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132162838","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":"Jazz Influences in Chamber Musical Works created by Composers from Iaşi at the Beginning of the 21st Century","authors":"Aurelia Simion","doi":"10.2478/ajm-2019-0014","DOIUrl":"https://doi.org/10.2478/ajm-2019-0014","url":null,"abstract":"Abstract Chamber Music has always been a genre predefined to a certain audience. At the merge of the 20th and 21st Centuries, the interest for this genre has grown exponentially, from Romanian and Bessarabia composers alike. Because the concept of Chamber Music has evolved during the ages and has always offered the possibility for experimentation, it has managed to infiltrate into present day Ensembles, by associating timbre and constructive heterogenic instruments. The search for new ways of expressing oneself, new sounds and new stylistic methods and the desire to use new types of sound emission represent a continuous motivation for the composers, whose contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz influence has a significant role inside the works of Sabin Pautza, Romeo Cozma (Romania) and Oleg Negruța (Republic of Moldova). The article is focused on Chamber Music compositions with Jazz influences, written by Iași authors. The purpose is to create a general presentation and also a structural-interpretive analysis of some works from my personal repertoire, which was actually one of the main criteria of selection. The objects of the research are: highlighting the particularities of the genre and style of contemporary works; presenting the interpretive aspects of the compositions and proposing some personal suggestions and tips. Although the selected works have been initially composed for different instruments and have been played to live audience, they have not presented themselves, so far, as a research subject, and thus have not been analyzed. Taking into consideration this deduction, the novelty and the personal contribution are visible in the scientific research that deals with the autochthonous compositional patrimony. The aspects presented in this article can be used for pedagogical processes and, at the same time, they can behave as a practical method in managing the chosen repertoire.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125100454","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":"Performing practice - comparative analysis and conclusions","authors":"Petruța-Maria Coroiu, A. Belibou","doi":"10.2478/ajm-2018-0011","DOIUrl":"https://doi.org/10.2478/ajm-2018-0011","url":null,"abstract":"Abstract Musical notation and its relationship with the concept of performance is very complex, depending on the context. Our paper discusses some important ideas about performance, referring to ascpects specific to great conductors such as S. Celibidache and W. Furtwängler. We begin by outlining the basic concepts behind their interpretations before going into more detail with specific examples.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"92 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":"114703313","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":"Ioan Pavalache – Polyptic coordinates of a musician’s life","authors":"C. Radu-Taga","doi":"10.2478/ajm-2018-0014","DOIUrl":"https://doi.org/10.2478/ajm-2018-0014","url":null,"abstract":"Abstract Ten years have passed from the death of conductor and professor Ioan Pavalache. Born in Chișinău, Ioan Pavalache went through the difficulties of the 1944 refuge. He perfected his studies at Bucharest, choosing to practice in the field of music. His great passion was conducting, that is why he preferred to leave the capital and to come to Iași for conducting the Gavriil Musicescu Choir of Moldovian Philharmonic and at the same time the Romanian Opera’s Choir. He linked his destiny to the activity of the Philharmonic’s Choir which he led for 32 years, raising the ensemble to a high artistic level. He did not decline the involvement in organizational activities, which is why he managed the Romanian Opera from Iași as an artistic director. The enthusiasm and the professional skills turned him toward the academic career and at The Conservatory formed plenty of young conductors, who pursue today their activity in residential institutions. A continuator of the choral tradition, Ioan Pavalache founded Camerata Choir, which had a rich activity at national and international levels. The coordinates of a life dedicated to music deserve to be known at present and not only then…","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"280 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":"114376188","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":"Romanian National Anthems, Historical, Stylistic and Aesthetic Considerations","authors":"C. Chelaru","doi":"10.2478/ajm-2018-0013","DOIUrl":"https://doi.org/10.2478/ajm-2018-0013","url":null,"abstract":"Abstract This text represents an abridgement of an extensive research paper, recently completed, and titled The Song-Symbol, History and Content. About the National Anthems. It has not been long since I wrote about a sensitive subject: that of prejudices in considering and reconsidering history, those which could manipulate (in fact do manipulate!) consciences positively or negatively, and sometimes generate extremist ideas and attitudes (Chelaru, 2017). Following the course of history, a dilemma arose regarding the national anthem, particularly regarding its origins, the circumstances under which a particular anthem was chosen, and above all, comparisons of one anthem to another. From a general point of view, the first observation is that the anthem, especially as it is perceived nowadays in Europe, involves historical meaning, symbols of human communities and nations. As a result, I want to suggest certain improvements towards the current configuration of this musical genre. First I will summarize the history of the Romanian national anthems, beginning with the very first one, adopted during the reign of Alexandru Ioan Cuza, continuing with the monarchic period, then the anthems of communist Romania, and finally the present one, Deșteaptă-te, române! – which is in fact the oldest of all. The main reason I chose this issue does not concern purely academic curiosity; it pursues my entirely subjective interest in the circumstances that prompted Romanians to adopt, over the last century and a half, just these hymns and not others.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"379 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":"121405408","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":"Aspects of Musical Semantics from the Perspective of Structuralism, Semiotics and Narratology","authors":"Mihaela-Georgiana Balan","doi":"10.2478/ajm-2018-0007","DOIUrl":"https://doi.org/10.2478/ajm-2018-0007","url":null,"abstract":"Abstract Music is a universal force, a widely spread mean of communication on the entire planet, because it has a strong ability to influence human emotions, even without words (when referring to instrumental or symphonic music). Thus, music is one of the most challenging arts in ‘deciphering’ the hidden message of its creator. The present paper is focused on three analytical techniques which imposed themselves in the musicology field of the 20th century – structuralism, semiotics, narratology. Our purpose is to offer a general outlook on these perspectives and some specific principles of applicability when approaching a musical score, in terms of formal construction, sonorous structures, equivalence classes applied to musical elements, energetic potential of musical isotopes using modal verbs, essential aspects in determining the narrative frame (spatiality, temporality, actoriality). Structuralism, semiotics and narratology emerged as independent sciences successively, during half a century, influencing each other in a stimulating coexistence which enabled a wide scientific opening until present.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"68 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":"131768654","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":"Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher","authors":"Dalia Rusu-Persic","doi":"10.2478/ajm-2018-0012","DOIUrl":"https://doi.org/10.2478/ajm-2018-0012","url":null,"abstract":"Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the personalities active in the cultural and artistic life were real and unrelenting, their results being guided by the desire to promote music with specific national traits. This study provides an analytical perspective on the current reception of that social-artistic context. Taking into account that new sources have favored a more detailed and profound investigation of the 19th-century critical phenomenon, our analysis supplements the information presented in the music history studies already published in Romania. Consequently, the first section of this paper approaches the extremely dynamic phenomenon represented by the creation of new journals / newspapers in the 19th century. It is our belief that starting from general journalism we can acquire a better understanding of the development of musical criticism. This research aimed to discover new dimensions of Iași-based music, placing special emphasis on the critical reception of the composer Alexandru Flechtenmacher. We have followed its reflection in the Romanian press, starting from the first accounts in this respect, and ending with the subsequent assessments formulated in 20th-century musicology. Although the texts that tackle musical issues are quite few and social aspects prevail in the commentators’ list of interests, by combining the information provided by general literary/historical/social sources with the details included in specialized articles we can create a new perspective on late 19th-century Iași-based compositions.","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"67 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":"132074114","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":"Decoding the Musical Message via the Structural Analogy between Verbal and Musical Language","authors":"Rosina Caterina Filimon","doi":"10.2478/ajm-2018-0009","DOIUrl":"https://doi.org/10.2478/ajm-2018-0009","url":null,"abstract":"Abstract The topic approached in this paper aims to identify the structural similarities between the verbal and the musical language and to highlight the process of decoding the musical message through the structural analogy between them. The process of musical perception and musical decoding involves physiological, psychological and aesthetic phenomena. Besides receiving the sound waves, it implies complex cognitive processes being activated, whose aim is to decode the musical material at cerebral level. Starting from the research methods in cognitive psychology, music researchers redefine the process of musical perception in a series of papers in musical cognitive psychology. In the case of the analogy between language and music, deciphering the musical structure and its perception are due, according to researchers, to several common structural configurations. A significant model for the description of the musical structure is Noam Chomsky’s generative-transformational model. This claimed that, at a deep level, all languages have the same syntactic structure, on account of innate anatomical and physiological structures which became specialized as a consequence of the universal nature of certain mechanisms of the human intellect. Chomsky’s studies supported by sophisticated experimental devices, computerised analyses and algorithmic models have identified the syntax of the musical message, as well as the rules and principles that underlie the processing of sound-related information by the listener; this syntax, principles and rules show surprising similarities with the verbal language. The musicologist Heinrich Schenker, 20 years ahead of Chomsky, considers that there is a parallel between the analysis of natural language and that of the musical structure, and has developed his own theory on the structure of music. Schenker’s structural analysis is based on the idea that tonal music is organized hierarchically, in a layering of structural levels. Thus, spoken language and music are governed by common rules: phonology, syntax and semantics. Fred Lerdahl and Ray Jackendoff develop a musical grammar where a set of generating rules are defined to explain the hierarchical structure of tonal music. The authors of the generative theory propose the hypothesis of a musical grammar based on two types of rules, which take into account the conscious and unconscious principles that govern the organization of the musical perception. The structural analogy between verbal and musical language consists of several common elements. Among those is the hierarchical organization of both fields, a governance by the same rules – phonology, syntax, semantics – and as a consequence of the universal nature of certain mechanisms of the human intellect, decoding the transmitted message is accomplished thanks to some universal innate structures, biologically inherited. Also, according to Chomsky's linguistics model a musical grammar is configured, one governed by wellformed ","PeriodicalId":374753,"journal":{"name":"Artes. Journal of Musicology","volume":"40 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":"121427103","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}