Studia Universitatis Babes-Bolyai Musica最新文献_第3页

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.17

Sára Aksza Grosz

引用次数: 0

Music Quotation in Contemporary Non-Academic Art: Aspects of Genre and Style Transformation 当代非学院派艺术中的音乐引用:体裁与风格转换的几个方面

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.07

Violetta Artemenko

{"title":"Music Quotation in Contemporary Non-Academic Art: Aspects of Genre and Style Transformation","authors":"Violetta Artemenko","doi":"10.24193/subbmusica.2023.spiss2.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.07","url":null,"abstract":"\"The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished. Keywords: quote, citation, borrowing, autocitation, samples, cover, remake, collage, intertextuality. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47184620","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

Sándor Veress’s Threnos in the Light of ‘Tradition’ and ‘Renewal’ 从“传统”与“更新”看Sándor Veress的《三人行》

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.02

Miklós Fekete

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Steve Reich’s Style and Componistic Concepts Reflected in Tehillim Score 史蒂夫·赖希的风格和组成主义概念反映在泰利姆乐谱

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-08-10 DOI: 10.24193/subbmusica.2023.spiss2.21

A. Belibou

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Developing Professional Skills of a Performing Musician in a Higher Music Institution 高等音乐院校表演音乐家专业技能的培养

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.09

Oksana Bassa, Mariya Lypetska, Olena Ksondzyk, Zenovija Zhmurkevych, Antonina Lisohorska

{"title":"Developing Professional Skills of a Performing Musician in a Higher Music Institution","authors":"Oksana Bassa, Mariya Lypetska, Olena Ksondzyk, Zenovija Zhmurkevych, Antonina Lisohorska","doi":"10.24193/subbmusica.2023.spiss1.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.09","url":null,"abstract":"\"The aim of the research is to determine the problem of developing the professional skills of a performing musician in a higher education music institution. The study involved the following methods: comparative analysis, systematization and grouping, derivation of categories. The relevance of this study is determined by the need to modernize and expand the boundaries of the educational environment when teaching performing musicians. The results of the development of this problem represented it as a complex, multifaceted and, at the same time, integral system, which includes components that differ in content and function, ensuring the effectiveness of the educational program. The conclusions testify to a wide scope of the problem of the formation of a performing musician, its focus on various spheres in the life of society, and the importance of each of its components. The prospects of further research in this field of art are in its flexibility, the ability to be updated, replenished with the achievements of time, and respond to the needs and mood of society. Keywords: music education, integration, art, performing musician, dual education\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48371957","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

Stylistic Features of Church Music After Dimitrie Cunțanu, a Default Typology 迪米特里之后教会音乐的风格特征Cunțanu，一个默认的类型

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.14

D. Mocanu

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Chamber Music Exploration for Meditation. Part Iv – The Pieces 室内乐冥想探索。第四部分-碎片

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.16

János Zsolt Imre

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Interpretative Formulas in Caroling in the Southern Area of the Apuseni Mountains 阿普塞尼山脉南部地区颂歌的解释公式

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.12

Ciprian Mizgan-Danciu

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The Question of the Musical Message. The Semantic Capacity of the Expressive Structure 音乐信息的问题。表达结构的语义能力

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.05

Oleg Garaz

{"title":"The Question of the Musical Message. The Semantic Capacity of the Expressive Structure","authors":"Oleg Garaz","doi":"10.24193/subbmusica.2023.spiss1.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.05","url":null,"abstract":"\"Is it possible to communicate through music? Does music communicate something in particular? Is music like the message in a bottle – the meaning wrapped in the envelope of a form? Who would be the recipient of the musical message in this case – one, many, all of humanity, as in the IV parts of Beethoven’s Ninth Symphony? Or maybe just Captain Grant’s children? And how pertinent is the extrapolation of notional-discursive schema and logic to music as Mattheson did in Der Vollkommene Kapellmeister? Because this phrase – the message of music – immediately refers to both the suggestive neutrality of musical sounds and the emotional irrelevance of the relationships between them. Sounds are just sounds. Is a chord the analogy of the word, the melody the analogy of the phrase, and a whole articulation the substitute of a speech? Is music a language? Or, indeed, being both sonorous, but also processual and symbolic, just like spoken language, music does not connote in the same way. And if the language has prescribed references, then music does not. A chord, a melody, let alone a counterpoint, have no predetermined meaning, not even one resembling a notional one, even after the performance is over. Should the composer first be a very good connoisseur of human emotional behavior rather than a very good musician? Or, perhaps, a simple postman, as in the famous song of the Beatles? Keywords: message, communication, language, connotation, symbol, process, music\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47791693","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

Homage to Henri Dutilleux 向亨利·杜蒂勒致敬

Studia Universitatis Babes-Bolyai Musica Pub Date : 2023-07-20 DOI: 10.24193/subbmusica.2023.spiss1.03

Alexandra Marinescu

{"title":"Homage to Henri Dutilleux","authors":"Alexandra Marinescu","doi":"10.24193/subbmusica.2023.spiss1.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.03","url":null,"abstract":"\"Henri Dutilleux was one of the prominent figures of European composition, especially in the second half of the 20th century. A complex personality, he worked throughout his career as a musician in various roles, from pianist, to accompanist, to conductor, to pedagogue, to composer, being one of the main promoters of French culture and beyond. He received numerous awards and recognitions for his entire activity, his reputation not only surpassing the borders of the country, but also the European ones. Although he began composing at a very young age, Dutilleux repeatedly omits to include these works in his catalogue, refusing even to mention them in the section of his interpreted works. Meticulous and extremely pedantic, he always made changes to his works, constantly crystallizing his style both throughout the varied musical experiences in which the musician took part and through the close collaborations he had with instrumental artists whom he consulted regarding timbral possibilities and techniques of the instruments he was writing for. His compositions, although not very numerous, encompass a genuistically vast variety, and an exhaustive stylistic approach. Although he always embraces new compositional techniques, Dutilleux never reaches a rational extremism, keeping in the foreground the idea of meaningful music, and not the other way around. He died on 22nd of May 2013, in Paris, at the age of 97. Keywords: Henri Dutilleux, French composer, 20th century\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48068442","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