Olivier Messiaen wanted his music to express of his profound Catholic faith, and many of his instrumental works written for the concert hall have an overt religious message. The Star of Bethlehem and the Cross of Golgotha, the most powerful symbols of Christianity, stand at the beginning and the end of Christ’s earthly life. The connection between the birth of Jesus and His death on the cross in theological texts and pictorial representations in Christian art is briefly surveyed. The study focuses on the way Messiaen gave a musical expression to this connection by using similar motifs and themes in movements depicting the joy of the Nativity and movements expressing the sorrow of the Passion. Relevant movements in which the composer uses the so-called Boris motif are presented, followed by an in-depth analysis of the “Theme of the star and the cross” in the piano cycle Vingt Regards sur l’Enfant-Jésus.
W artykule przedstawiam problematykę wykonania muzycznego w badaniach muzykologicznych. W pierwszej części artykułu analizuję zagadnienie wykonania muzycznego z perspektywy muzykologii jako prymarnej nauki o muzyce i jej źródłach. W drugiej części artykułu przeprowadzam filozoficzną analizę źródła. W trzeciej części artykułu analizuję główne aspekty wykonania muzycznego, znajdujące się w horyzoncie zainteresowania muzykologii filozoficznej. Celem artykułu jest zwrócenie uwagi na potrzebę interdyscyplinarnego dialogu muzykologiczno-filozoficznego wokół problematyki wykonania muzycznego.
Este artículo analiza las fuentes guitarrísticas de Manuel de Falla y propone ejemplos de un acercamiento a la interpretación histórica de su obra, el Homenaje escrito en 1920. A través de estas fuentes y experimentos realizados en instrumentos antiguos con cuerdas de tripa y seda, esta investigación se enfoca en los detalles interpretativos del Homenaje y en otras obras de la época como son el Preludio y Danza de Julián Bautista o los arreglos de Miguel Llobet. A través de esta búsqueda se pretende ampliar la estética guitarrística Falliana, interpretar música y formaciones olvidadas y reconsiderar el panorama guitarrístico.
Jacek Jackowski is a musician and ethnomusicologist, and the head of the Phonographic Collection at the Institute of Art of the Polish Academy of Sciences. He specializes in the conservation, digitization and archiving of old sound recordings. He is a field researcher and author of many academic articles on traditional, Catholic and folk religious culture associated with musical behaviours. He also published numerous articles and books on early folk music recordings and their digitization (Zachować dawne nagrania, Warszawa 2014; Polska muzyka tradycyjna – dziedzictwo fonograficzne, t. 1, Warszawa 2017; t. 2, Warszawa 2019), as well as 17 CD albums of folk songs and music from Kashubia, Kurpie, Podhale, Łowicz, Orava, South Wielkopolska and many other regions of Poland. Since 2014 he has been managing the Etnofon project, the goal of which is to create, develop and maintain a central digital repository of documentary phonographic and film recordings capturing Polish traditional songs and music as well as folk dance.
Ethnology. Social and cultural anthropology, Language and Literature
The evolution of musical composition in the Italian opera aria during the 17th–19th centuries saw a number of periods when some structural principles of the musical form were gradually replaced by others. One of them occurred at the turn of the 18th and 19th centuries. It was at this time that the system of romantic opera forms emerged. The process of the aria transformation was especially clearly reflected in the work of Johann Simon Mayr (1763–1845), one of the most remarkable opera composers of the transitional era. The article considers some compositional solutions characteristic for the then arias. The evidence is taken from several solo pieces from Ginevra di Scozia (1801). They were compared with previous and subsequent musical and theatrical practice. On the one hand, these forms are based on structures typical for the grand aria of the late 18th century (two-tempo forms and rondó) that were widely used in the Viennese tradition, in particular, by Mozart. On the other hand, Mayr’s operas feature arias indicative of the development of la solita forma—the aria form, which was later used by many composers of the Romantic era, from Rossini to Verdi. The analysis of these arias concludes that Mayr’s works demonstrate a complex process of the development of a romantic operatic form and serve as a kind of a link between the two eras.
This case study presents the process of music therapy sessions in three instances of one-to-one client sessions and one online group session. Mr. Bob Heath, a music therapist with over 20 years’ experience, musician, songwriter, and singer, supervised these sessions, providing feedback and clinical support alongside Dr. Lois Paula Văduva, a recent music therapy graduates from The University of The West of England and reader at Emanuel University of Oradea, Romania. This research also illustrates the challenges of every session and the importance of practicing songwriting in a music therapy session. In addition, this case study highlights three techniques used during the study period: client-led lyric and songwriting, improvisation, and song narratives in a music therapy session. Lastly, the therapist’s reflections are presented to complete the overview of the work.
REZUMAT. STUDIU DE CAZ PRIVIND SCRIEREA CÂNTECELOR ÎN SESIUNILE DE MUZICOTERAPIE. Acest studiu de caz prezintă un studiu de caz a patru ședințe de muzicoterapie, trei sesiuni cu un singur client și o sesiune online de grup. Dl. Bob Heath, muzicoterapeut cu experiență de peste 20 de ani, muzician, terapeut muzical, compozitor și cântăreț, a supravegheat aceste sesiuni, oferind feedback și sprijin clinic alături de dr. Lois Vaduva, absolventă a studiilor de master în muzicoterapie la Universitatea West of England și conferențiar universitar la Universitatea Emanuel din Oradea. Această cercetare ilustrează, de asemenea, provocările fiecărei sesiuni de muzicoterapie și importanța compoziției muzicale în diverse instanțe terapeutice. În plus, acest studiu de caz evidențiază trei tehnici utilizate în timpul perioadei de studiu: compoziția condusă de client, improvizație și narațiuni de cântece într-o sesiune de terapie prin muzică. În cele din urmă, reflecțiile terapeutului sunt prezentate pentru a completa prezentarea generală a lucrării.
Cuvinte cheie: muzicoterapie, scriere de cântece, cânt, sesiune de terapie prin muzică, client.
Destacando uma década do lançamento do livro, a resenha traz a descrição dos procedimentos metodológicos utilizados na pesquisa de Green (2008). A partir de análise do seu livro, são descritos a problematização, a metodologia empregada, bem como os resultados obtidos. Acredito que tal descrição pode servir como ilustração e, assim, auxiliar estudantes de música em seu aprendizado referente à estruturação de projetos de pesquisa na área de Música e educação musical.
В своей работе американский музыковед, директор нотно-музыкальной библиотеки Университета Маунт Эллисон Лаура М. Снайдер излагает основные позиции преподаваемой ею учебной дисциплины по музыкальной библиографии. Данный курс ведется у аспирантов и предназначен для освоения основных навыков по работе с фондами музыкальных библиотек и владения современными инструментами поиска информации.
Britten as a public figure. Britten as a composer of music for children, amateurs, and the church. These are sides of Britten’s legacy that have attracted little scholarly attention prior to Heather Wiebe’s recent monograph Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. More familiar is Britten as a composer of opera and art song, and as a man “at odds with . . . society” (Pears 1983: 152).1 Although anticipating the Britten centenary by one year, Britten’s Unquiet Pasts is much in keeping with the spirit of other Britten publications to be released this year, not least Paul Kildea’s (2013) biography. What emerges from these new perspectives is a more complex view of Britten, both as an artist whose breadth of work defies easy classification, and as a man with changing and often conflicting impulses towards his envisaged role in society.
Neste artigo empreende-se a análise da obra Portais e a Abside, de Celso Loureiro Chaves, para violão solo, de 1997. A análise segue os princípios da nova musicologia, como têm sido postos em prática por autores como Lawrence Kramer e Rose Subotnik. O ponto de partida e permanente referência da análise são as evidências deixadas pelo próprio compositor: o caráter inteiramente serial da obra; a relação do esquema formal da obra com "o plano arquitetônico de um templo imaginário, mas que poderia estar localizado na ilha de Próspero tal como desenhada por Peter Greenaway para o seu filme A Última Tempestade"; a referência da seção central da peça à memória de "alguma leitura longínqua da obra Grande Sertão: Veredas, de Guimarães Rosa". A partir destas evidências busca-se intuir um contexto que ilumine a obra e desvele a profundidade do seu significado.<br>An analysis of the solo guitar piece Portals and the Apse by Celso Loureiro Chaves (1997) is undertaken in this article. The analysis follows the principles of the new musicology, as put into practice by authors such as Lawrence Kramer and Rose Subotnik. The starting point of the analysis and its guiding line are the evidences left behind by the composer, namely the entirely serial nature of the work; the relationship of its formal scheme with "the architectural plan of an imaginary temple, that could be located on Prospero's island as drawn by Peter Greenaway for his film Prospero's Books "; the reference of the central section of the work to the memory of a "distant reading of the novel The Devil to Pay in the Backlands, by Guimarães Rosa." From these evidences we seek to draw a context that aims at illuminating the work and unveiling the depth of its meaning.
Estudo analítico e comparativo sobre os choros Segura ele e Um a zero de Pixinguinha que, na histórica viagem do grupo de choro Oito Batutas a Paris em 1922, conviveu com músicos de jazz norte-americanos. Observam-se características do ragtime em Segura ele a partir das gravações no CD Pixinguinha 100 anos, o qual inclui performances do compositor no saxofone e na flauta. Uma comparação entre elementos formais, harmônicos, rítmicos, motívicos, de instrumentação e iconográficos mostra que o choro de Pixinguinha foi influenciado em vários níveis pelo gênero popular norte-americano.<br>Analytical and comparative study about Segura ele and Um a zero, two choros by Brazilian composer and instrumentalist Pixinguinha, who embarked to Paris in 1922, on the historical trip with his choro group Oito Batutas (Eight Smarties), where he met American jazz musicians. It shows traits of ragtime in Segura ele departing from the recordings of the works in the CD Pixinguinha 100 anos, which includes performances by the composer on both the saxophone and flute. A comparison among formal, harmonic, rhythmic, motivic, instrumentation and iconographic elements reveal that Pixinguinha's choro style was influenced by the US popular music genre in several levels.
The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micić and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micić was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micić moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micić. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'ešč (in German). Micić himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronić (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micić, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.