{"title":"snejana pÎslari钢琴三画像作曲中的音乐语言和作曲特点:Сhopin，斯克里亚宾，拉赫玛尼诺夫","authors":"Dmitri Cabacov","doi":"10.55383/amtap.2022.1.16","DOIUrl":null,"url":null,"abstract":"The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.","PeriodicalId":32263,"journal":{"name":"Studiul Artelor si Culturologie Istorie Teorie Practica","volume":"77 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"PECULIARITIES OF THE MUSICAL LANGUAGE AND COMPOSITION IN SNEJANA PÎSLARI’S COMPOSITION FOR PIANO TREI PORTRETE MUZICALE: СHOPIN, SKRIABIN, RACHMANINOV\",\"authors\":\"Dmitri Cabacov\",\"doi\":\"10.55383/amtap.2022.1.16\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.\",\"PeriodicalId\":32263,\"journal\":{\"name\":\"Studiul Artelor si Culturologie Istorie Teorie Practica\",\"volume\":\"77 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studiul Artelor si Culturologie Istorie Teorie Practica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.55383/amtap.2022.1.16\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studiul Artelor si Culturologie Istorie Teorie Practica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.55383/amtap.2022.1.16","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
PECULIARITIES OF THE MUSICAL LANGUAGE AND COMPOSITION IN SNEJANA PÎSLARI’S COMPOSITION FOR PIANO TREI PORTRETE MUZICALE: СHOPIN, SKRIABIN, RACHMANINOV
The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.
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