{"title":"康乃尔-塔拉努或关于对比的课程","authors":"Amalia Szucs-Blanaru","doi":"10.31926/but.pa.2023.16.65.3.2","DOIUrl":null,"url":null,"abstract":"Cornel Taranu became history. Among the works he has left us are four piano miniatures composed in the 1960s. We have set out to analyse two of them, Contrast I-II, looking at the musical contrasts that are at the basis of the genesis of these two works. We are referring to the rhythmic, dynamic, tempo, register, texture and organization contrasts of the sound material. The results show that the two works can stand alongside any other piano composition of the universal creation of the second half of the 20th century.","PeriodicalId":440876,"journal":{"name":"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts","volume":"254 ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Cornel Taranu ou La lecon sur le contraste\",\"authors\":\"Amalia Szucs-Blanaru\",\"doi\":\"10.31926/but.pa.2023.16.65.3.2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Cornel Taranu became history. Among the works he has left us are four piano miniatures composed in the 1960s. We have set out to analyse two of them, Contrast I-II, looking at the musical contrasts that are at the basis of the genesis of these two works. We are referring to the rhythmic, dynamic, tempo, register, texture and organization contrasts of the sound material. The results show that the two works can stand alongside any other piano composition of the universal creation of the second half of the 20th century.\",\"PeriodicalId\":440876,\"journal\":{\"name\":\"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts\",\"volume\":\"254 \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2024-01-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31926/but.pa.2023.16.65.3.2\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31926/but.pa.2023.16.65.3.2","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Cornel Taranu became history. Among the works he has left us are four piano miniatures composed in the 1960s. We have set out to analyse two of them, Contrast I-II, looking at the musical contrasts that are at the basis of the genesis of these two works. We are referring to the rhythmic, dynamic, tempo, register, texture and organization contrasts of the sound material. The results show that the two works can stand alongside any other piano composition of the universal creation of the second half of the 20th century.
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