Subjects -> ART (Total: 882 journals)
    - ART (468 journals)
    - DANCE (26 journals)
    - FILM AND AUDIOVISUALS (125 journals)
    - MUSIC (171 journals)
    - THEATER (92 journals)

MUSIC (171 journals)                     

Showing 1 - 166 of 166 Journals sorted alphabetically
American Music     Full-text available via subscription   (Followers: 18)
American String Teacher     Full-text available via subscription   (Followers: 1)
Anuario Musical     Open Access   (Followers: 1)
Ars Lyrica     Full-text available via subscription  
ARTES. Journal of Musicology     Open Access  
Asian Music     Full-text available via subscription   (Followers: 9)
Australasian Music Research     Full-text available via subscription   (Followers: 2)
Australian Journal of Music Education     Full-text available via subscription   (Followers: 7)
Australian Journal of Music Therapy     Full-text available via subscription   (Followers: 9)
Australian Voice     Full-text available via subscription   (Followers: 4)
AV Notas : Revista de Investigación Musical     Open Access  
Biannual Online-Journal of Springsteen Studies     Open Access  
Black Music Research Journal     Full-text available via subscription   (Followers: 12)
British Journal of Music Education     Hybrid Journal   (Followers: 18)
British Journal of Music Therapy     Hybrid Journal   (Followers: 8)
Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art     Open Access  
Cahiers d'ethnomusicologie     Open Access   (Followers: 2)
Cambridge Opera Journal     Hybrid Journal   (Followers: 4)
Circuit : musiques contemporaines     Full-text available via subscription   (Followers: 1)
Computer Music Journal     Hybrid Journal   (Followers: 18)
Conservatorium / Konservatoryum     Open Access  
Contemporary Music Review     Hybrid Journal   (Followers: 13)
Context: Journal of Music Research     Full-text available via subscription   (Followers: 7)
Cuadernos de Investigación Musical     Open Access  
Cuadernos de Música Iberoamericana     Open Access  
Cuadernos de Música, Artes Visuales y Artes Escénicas     Open Access   (Followers: 1)
De Arte     Hybrid Journal   (Followers: 3)
De Musica     Open Access  
Diagonal : An Ibero-American Music Review     Open Access  
Divergence Press     Open Access  
Early Music     Hybrid Journal   (Followers: 12)
Early Music History     Hybrid Journal   (Followers: 7)
East Asian Journal of Popular Culture     Hybrid Journal   (Followers: 6)
Eighteenth-Century Music     Hybrid Journal   (Followers: 13)
El Oído Pensante     Open Access  
Empirical Musicology Review     Open Access   (Followers: 3)
Epistemus : Revista de Estudios en Música, Cognición y Cultura     Open Access  
Ethnomusicology Forum     Hybrid Journal   (Followers: 11)
Ethnomusicology Translations     Open Access   (Followers: 2)
EURASIP Journal on Audio, Speech, and Music Processing     Open Access   (Followers: 7)
Folk och musik     Open Access   (Followers: 1)
Forum Modernes Theater     Full-text available via subscription  
Gamut : Online Journal of the Music Theory Society of the Mid-Atlantic     Open Access   (Followers: 3)
General Music Today     Hybrid Journal   (Followers: 2)
Gli Spazi della Musica     Open Access  
Greek and Roman Musical Studies     Hybrid Journal   (Followers: 3)
I Tatti Studies in the Italian Renaissance     Full-text available via subscription   (Followers: 15)
IASPM@Journal     Open Access   (Followers: 2)
International Journal of Community Music     Hybrid Journal   (Followers: 8)
International Journal of Music Business Research     Open Access  
International Journal of Music Education     Hybrid Journal   (Followers: 18)
International Journal of Music in Early Childhood     Hybrid Journal   (Followers: 1)
Intervención     Open Access  
Jazz Perspectives     Hybrid Journal   (Followers: 8)
Jazz Research Journal     Hybrid Journal   (Followers: 6)
Journal of Folklore Research     Full-text available via subscription   (Followers: 7)
Journal of Historical Research in Music Education     Hybrid Journal   (Followers: 4)
Journal of Interdisciplinary Voice Studies     Hybrid Journal  
Journal of Jazz Studies     Open Access   (Followers: 3)
Journal of Mathematics and Music: Mathematical and Computational Approaches to Music Theory, Analysis, Composition and Performance     Hybrid Journal   (Followers: 12)
Journal of Music Teacher Education     Hybrid Journal   (Followers: 8)
Journal of Music Therapy     Hybrid Journal   (Followers: 13)
Journal of Music, Technology and Education     Hybrid Journal   (Followers: 11)
Journal of Musicological Research     Hybrid Journal   (Followers: 7)
Journal of New Music Research     Hybrid Journal   (Followers: 12)
Journal of Popular Music Education     Hybrid Journal   (Followers: 4)
Journal of Research in Music Education     Hybrid Journal   (Followers: 18)
Journal of the Alamire Foundation     Full-text available via subscription  
Journal of the Musical Arts in Africa     Hybrid Journal   (Followers: 1)
Journal of the Royal Musical Association     Hybrid Journal   (Followers: 5)
Journal of the Society for American Music     Hybrid Journal   (Followers: 12)
Journal of World Popular Music     Full-text available via subscription   (Followers: 6)
Latin American Music Review     Full-text available via subscription   (Followers: 6)
Leonardo Music Journal     Hybrid Journal   (Followers: 11)
Metal Music Studies     Hybrid Journal   (Followers: 3)
Music & Science     Open Access   (Followers: 2)
Music + Practice     Open Access   (Followers: 3)
Music Analysis     Hybrid Journal   (Followers: 15)
Music and Letters     Hybrid Journal   (Followers: 23)
Music and Medicine     Hybrid Journal   (Followers: 2)
Music and Politics     Open Access   (Followers: 10)
Music and the Moving Image     Full-text available via subscription   (Followers: 6)
Music Education Research     Hybrid Journal   (Followers: 15)
Music Educators Journal     Hybrid Journal   (Followers: 7)
Music Reference Services Quarterly     Hybrid Journal   (Followers: 8)
Music Scholarship / Problemy Muzykal'noj Nauki     Open Access   (Followers: 1)
Music Theory and Analysis (MTA)     Full-text available via subscription   (Followers: 4)
Music Theory Spectrum     Hybrid Journal   (Followers: 12)
Music Therapy Perspectives     Hybrid Journal   (Followers: 7)
Music, Sound, and the Moving Image     Hybrid Journal   (Followers: 10)
MUSIC.OLOGY.ECA     Open Access   (Followers: 1)
Música e Linguagem - Revista do Curso de Música da Universidade Federal do Espírito Santo     Open Access  
Música em Contexto     Open Access  
Musica Tecnologia     Open Access  
Musicae Scientiae     Hybrid Journal   (Followers: 5)
Musical Offerings     Open Access  
Musical Quarterly     Hybrid Journal   (Followers: 7)
Musicological Annual     Full-text available via subscription  
Musicological Explorations     Open Access   (Followers: 1)
Musicologist     Open Access  
Musicology Australia     Hybrid Journal   (Followers: 1)
Musicology Today     Open Access   (Followers: 2)
MUSICultures     Full-text available via subscription   (Followers: 1)
Musicworks: Journal of the Australian Council of Orff Schulwerk     Full-text available via subscription  
Musiikki     Open Access  
Musik- Tanz und Kunsttherapie     Hybrid Journal  
Musikk og Tradisjon     Open Access  
Musikterapi i Psykiatrien Online     Open Access  
Muziki: Journal of Music Research in Africa     Hybrid Journal   (Followers: 2)
New Soundtrack     Hybrid Journal   (Followers: 2)
New Zealand Journal of Music Therapy     Full-text available via subscription   (Followers: 5)
Nineteenth-Century Music Review     Hybrid Journal   (Followers: 6)
Nordic Journal of Music Therapy     Hybrid Journal   (Followers: 7)
Nota Bene : Canadian Undergraduate Journal of Musicology     Open Access  
Notes     Full-text available via subscription   (Followers: 14)
Online Journal of Music Sciences     Open Access   (Followers: 1)
Opera Quarterly     Hybrid Journal   (Followers: 3)
OPUS : Revista Electronica da ANPPOM     Open Access  
Organised Sound     Hybrid Journal   (Followers: 6)
Perfect Beat     Hybrid Journal   (Followers: 2)
Performance Practice Review     Open Access   (Followers: 2)
Peritia     Full-text available via subscription   (Followers: 6)
Philomusica on-line     Open Access  
Philosophy of Music Education Review     Full-text available via subscription   (Followers: 5)
Plainsong and Medieval Music     Hybrid Journal   (Followers: 8)
Popular Music     Hybrid Journal   (Followers: 17)
Popular Music and Society     Hybrid Journal   (Followers: 19)
Popular Music History     Hybrid Journal   (Followers: 14)
Pro Musica Sacra     Open Access  
Psychology of Music     Hybrid Journal   (Followers: 21)
Psychomusicology : Music, Mind, and Brain     Full-text available via subscription   (Followers: 6)
Punk & Post Punk     Hybrid Journal   (Followers: 3)
Research and Issues in Music Education     Open Access   (Followers: 1)
Research Perspectives in Music Education     Full-text available via subscription   (Followers: 6)
Research Studies in Music Education     Hybrid Journal   (Followers: 9)
Revista Catalana de Musicologia     Open Access  
Revista de Investigación en Musicoterapia     Open Access  
Revista de Investigaciones en Técnica Vocal     Open Access  
Revista del Instituto de Investigación Musicológica "Carlos Vega"     Open Access  
Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM     Open Access  
Revista Electrónica de LEEME     Open Access  
Revista Internacional de Educación Musical     Open Access  
Revista Musical Chilena     Open Access  
Revue musicale OICRM     Open Access  
Rock Music Studies     Full-text available via subscription   (Followers: 5)
Royal Musical Association Research Chronicle     Hybrid Journal  
Sonora     Open Access  
Sound Scripts     Open Access  
Sound Studies : An Interdisciplinary Journal     Hybrid Journal  
String Research Journal     Hybrid Journal  
Studia Musicologica     Full-text available via subscription   (Followers: 1)
Studia Musicologica Norvegica     Open Access  
Tempo     Hybrid Journal   (Followers: 1)
The Soundtrack     Hybrid Journal   (Followers: 1)
Trans. Revista Transcultural de Música     Open Access  
Transactions of the International Society for Music Information Retrieval     Open Access  
Translingual Discourse in Ethnomusicology     Open Access  
Transposition : Musique et sciences sociales     Open Access   (Followers: 1)
Twentieth-century music     Hybrid Journal   (Followers: 6)
Update : Applications of Research in Music Education     Hybrid Journal   (Followers: 3)
Victorian Journal of Music Education     Full-text available via subscription   (Followers: 3)
Voices : A World Forum for Music Therapy     Open Access   (Followers: 4)
Volume ! La revue des musiques populaires     Open Access  
Women and Music: A Journal of Gender and Culture     Full-text available via subscription   (Followers: 12)
Yearbook of Ethnomusicology / Etnomusikologian vuosikirja     Open Access  
Yegâh Mûsikî Dergisi / Yegah Musicology Journal     Open Access  


Similar Journals
Journal Cover
ARTES. Journal of Musicology
Number of Followers: 0  

  This is an Open Access Journal Open Access journal
ISSN (Online) 2558-8532
Published by Sciendo Homepage  [370 journals]
  • Kitsch aspects in film music

    • Abstract: History has documented the human species’ struggles to understand beauty and communities’ efforts to grow through education. Figures of universal culture, such as Plato, Aristotle, G. W. F. von Leibniz, A. G. Baumgarten, I. Kant, G. W. F. Hegel, etc. tackled matters of aesthetics with great care. In the postmodernist period art, one of the four pillars of a peoples’ culture, together with language, history and religion, goes through a particular phase about which we cannot unequivocally say that is evolutionary. Under the onslaught of common people’s entertainment culture, contemporary art has a hard time maintaining its initial mission, that of elevating man’s soul and generating aesthetic projections of reality on a cognitive plane. The overwhelming significance that art and natural beauty carry in the intellectual life, beginning with the 18th century, is challenged by kitsch, this scourge, which came to prominence within society from the time when bourgeois civilization reached its peak, towards the end of the 19th century. Following a short presentation of various kitsch forms, associations and typologies in music, history, architecture, sculpture, decorative art and interior design, choreography, media, etc., we discuss kitsch aspects in film music, emphasising unjustified, incongruous and unempathetic associations between music and the rest of the filmic units. At the same time, we also present possible solutions for avoiding association errors. The examples are structured in the following subchapters: stylistic incongruities between filmic units vs. characteristics of the epoch augmented by music; using mainly dissonant or atonal sonorities in movies; exploring different cultures: ethnic music between deformation and authenticity; national and international in Romanian movies; representative songs - the more or less commercial exogenous motivation of film music; regarding the quantity of musical events in movies.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Improvised musical performance as conversational language in jazz

    • Abstract: Musical interpretation, in the form of the act of spontaneous composition, defined jazz throughout its stylistic evolution. Unlike other serious music, jazz has crystallised mainly due to the creative act of musical interpretation and less to the process of written musical construction. Within this cerebral musical genre, the act of performing took over as the fundamental role in the artistic communication between jazz musicians and audience but it especially took the form of an interrelation in the collective musical interpretation. The act of musical improvisation, in terms of jazz, is controlled by certain stylistic parameters, associated with form, phrasing and timbre, constantly relating to the harmonic, rhythmic and melodic planes. The standardisation of these parameters transformed jazz into a conversational musical language, which allows constant and organised communication between musicians through the phenomenon of interplay (the interaction of performers during the collective interpretive act). The principles of interplay are also integrated in the solo interpretation, especially in the case of pianists, who always improvise referring to the context and the relationship created between the accompaniment and the melodic plane. At the same time, just like verbal communication, mastering the jazz language involves reaching the level of free speech, with a spontaneous and contextual expression. This freedom of artistic expression involves the assimilation of the jazz language, creating a personal vocabulary and its use as a means of constructing authentic (spontaneously created) and eloquent musical discourses. Jazz language cannot be assimilated only through individual study, as is possible in the serious music of European tradition. The study and improvement of jazz musicians constantly depends on artistic socialisation and musical conversation. Jazz is a musical genre in continuous transformation, due to the fact that it is definitely more of an act of interpretation than of a compositional one. Jazz imposed musical interpretation as having the same contribution of creation with the compositional act, in terms of stylistic definition and crystallisation of an elaborated musical current or genre.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • New information in Romanian archives regarding the life and activity of
           musician Iosif Ivanovici

    • Abstract: Iosif Ivanovici was - surprisingly today - the most well-known Romanian composer from the late 19th century and the early 20th century on the international music scene. He was also an important exponent of Military music in our country. Information regarding the life and works of Iosif Ivanovici can be uncertain even today because of the difficulty in accessing documents from the military archives or the indifference with which this prolific musician was treated by the Romanian musicologists and performers in the last century. Another important factor that leads to the disregard of his work was the communist censorship of any expressions and investigations into the cultural works, which involved members of the Royal Family of Romania or were dedicated to them. An important part of Ivanovici’s compositions fall into this category. His representative composition, The Waves of the Danuve waltz, is even today popular all over the world, being part of soundtracks of tens of movies or being picked up and adapted by hundreds of musicians on the entire planet. This fact proves to us that Iosif Ivanovici is more famous and loved outside of Romania. Because of the access that we have today to multiple documentary sources, I have found hundreds of songs composed by the musician. With the help of these, we can understand not only his musical creativity, but also the subtle, joyful world of the era in which he lived, the era of the development of the modern Romanian state. During my research in various national archives, I have found clear data that proves the true value of the musician. These bring us welcome additions to our knowledge of the life and works of Iosif Ivanovici, The king of Romanian Waltz.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Piano Concerto and Jazz Music in the Second Half of the 20 Century. New
           Approaches to the Stylistic Fusion Concept

    • Abstract: In the early years of the twentieth century, jazz and academic music each followed a distinct path, each exhibiting its own stylistic evolution. Most jazz musicians did not have any formal musical education and those in the academic milieu were, in their turn, neither jazz performers nor jazz composers. With the evolution of the jazz genre and its penetration in the field of the concerto, jazz becomes a credible music and starts enjoying a well-defined and generally accepted value rank in its own right, to the point where classic music performers and composers become open to experimenting fusion with jazz. Piano concertos were initially timid in approaching such fusion and consisted of taking over and stylising some jazz-specific components and integrating them into their own piano concerto language. In the second half of the twentieth century, piano concertos capitalising on this stylistic mix grow more and more natural and elaborate, turning into a field for expression of the most diverse jazz / academic music fusion. The fundamental driver that prompted the growth in value of the piano concertos that were approaching the jazz-classic music fusion proved to be the gradual familiarisation of classical music composers with the two stylistic directions through their experience as performers or through their academic music education. This article provides a brief overview of the pluralistic approach of the piano concerto genre at the intersection between jazz and academic music creation in the second half of the twentieth century and in the early twenty-first century.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Sacred Music in Igor Stravinsky’s work.

    • Abstract: Researching the music of the Russian composer Igor Stravinsky, devoutness is not the first attribute that I have offered it. He has remained in collective memory rather as a music revolutionary, not at all a pious spirit, bent towards divinity. The modernism of his works, the tendencies that he was the first to impose but especially the scandal that chaperoned him ever since the 1913 premiere of the ballet The Rite of Spring, all these have imposed him as a “rebel” of music in the early 20th century. The composer nevertheless claimed that his music was not modern but traditional. The order and discipline which constituted the pillars of his compositions go hand in hand with his claim, the return to tradition and his love for the ancient leading audiences towards the discovery of his mystical, religious side. A far too little explored direction in that period laden with marked social and cultural events was the composition of religious music. Too few of Stravinsky’s opera were inspired from sources of this nature – this is exactly why the discovery of and finding their meanings is important. One of the representative opera of this compositional direction is represented by Symphony of Psalms, considered to be a masterpiece placed in Stravinsky’s neoclassical compositional period. The work wanted to be a return to Christian values through a musical language adapted to the times, the music being led in the spirit of the Gregorian chant, simply, to which a text in the Latin language was added. The lines of the psalms chosen in order to be capitalised on underline his predilection for the complexity of religious feelings, departing from humble imploration to glorification. Thus, although this work firstly reflects a personal religious experience, at the same time it suggests the unbounded expression of constancy in faith of a community, which seems to participate in a collective prayer.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Elements of language in the kalophonic heirmoi of Macarie the Hieromonk
           and Visarion the Confessor

    • Abstract: The tradition of kalophonic eirmoi has at least two brand representatives in the Romanian Principalities. First of all, Macarie the Hieromonk, but also one of his disciples, Visarion the Confessor. Both lived or worked in the great lavra of the Neamț Monastery, one of the most important spiritual and cultural centers known to the pan-Orthodox world. The intrigue that gives rise to this material is the fact that these kalophonic eirmoi are not only exegeseis or adaptations in Romanian, but also enrichments, melodic processing that reveals individual or common stylistic features, elements of musical language, characteristics of Neamț Monastery tradition and more. The present study therefore intends to identify some of these stylistic elements and compositional techniques of the two composers who deeply marked the Romanian psaltic tradition, in the compositional genre of kalophony, using as study material some kalophonic eirmoi belonging to the plagal of the fourth mode.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Manuscript 105 from the “Dumitru Stăniloae” Ecumenical Library of the
           Metropolitan Church of Moldova and Bucovina in Iasi - an exemplary
           document of adapting chants to Romanian in Moldova

    • Abstract: Ms 105 from the “Dumitru Stăniloae” Ecumenical Library is an extensive Chrysantean Anthologhion, consisting of 236 leaves, written in Romanian with Cyrillic characters by copyist Hariton Vasiliu from Horaita Monastery (Neamt County), between 1857-1879. The chant content is specific to the musical collection this codex belongs to, namely the service of Vespers, Matins, and the Divine Liturgy, freely organized in the manuscript; for this reason, the typical ritual order could not be observed. The musical sources of Ms. 105 are exclusively repertoire collections in the Romanian language, mainly the psaltic prints circulated during that period (about 50% of the total). Their composers are initiators of the implementation of the Chrysantine reform in the Romanian Principalities: Macarie the Hieromonk, Anton Pann, Nectarie Frimu, Dimitrie Suceveanu – they were all important personalities who, through their works, contributed significantly to the replacement of church chanting in Greek with chanting in the “mother tongue” (i.e. Romanian). The other set of chants in Ms. 105 (50% of the total) are, however, from local manuscript sources and are mainly composed by unknown musicians.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • A Parallel Model of Musical Research and Creation

    • Abstract: Stages of both processes – research and creation – are depicted and proposed as tools for understanding the uniqueness of the musical triad: musicology, interpretation, composition. Although the borderlines between them are fuzzy and the interconnections powerful, we can find sufficient reasons to compare these different ways to obtain knowledge and to generate results in the field of music. The proposition of a single model for all three areas takes into account the following stages: information, analysis, design, processing (combining intuition with rational procedures), adaptation, finalization. Similarities between the processes of musical research and musical creation are expressed and emphasized with examples, maps and figures.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • History of Music – A Further Approach

    • Abstract: This essay emerged from an article in the press this year, regarding the ‘infamous’ decision of Oxford University to ‘give up teaching classical music in the name of political correctness’! My first thought was to take this journalistic excess seriously. However, knowing the prestige of this famous university, I wanted to know the real facts that caused this piece of news… and I soon found out the true data. Firstly: It is not – it cannot be! – about the elimination of classical music from the current academic and artistic activity. It is about the globalisation of musicologists’ interest and efforts toward the contemporary musical phenomenon. Secondly: The project called ‘Towards a Global History of Music’ was indeed initiated by the University of Oxford, but it was adopted and carried out by five other European universities, along with several internationally renowned musicologists outside the academic sphere. Thirdly: The project took place between 2013-2017, and in the years that followed, the main coordinator, Professor Reinhard Strohm, edited and published three volumes of studies on music from all over the world, in the past and nowadays, signed by researchers of the most diverse ages and backgrounds. Fourthly: They admit that the idea about a global musical history is not new - it goes back to more than two centuries ago, to the time of the Enlightenment of the 18th century. Fifth: What the historians, musicologists, ethnomusicologists, sociologists in question firmly and constructively assert is the correlation of the data provided by the observations and findings on the musical phenomenon of humanity. They thus insist on overcoming Eurocentric conceptions, in other words, approaching the musical phenomenon from anywhere in the world, without automatically relating it to models or units of measurement exclusively generated by European values or history. Moreover, a comparison between various musical phenomena in the world can help to explain and understand some realities, circumstances and, consequently, the elimination of some prejudices.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • The relevance of context in musicological interpretation. Hermeneutical
           applications on certain Romanian writings and works

    • Abstract: We have been perceiving ever more acutely for the past two decades a major change in the vision and musicological style in the Romanian language: language analysis and historiographic research have slid onto a secondary plane, while the commentary of the work, of its interpretation and the characterisation of the style, determined by the social, political, biographical, artistic factors, by the means of expression of the time focus researchers’ interest increasingly. The history of contemporary musicology recognises the moment of change of the thinking paradigm in the 1980s writings belonging to Joseph Kerman: the article How we got into Analysis, and How to Get Out and the volume Contemplating Music. The author criticises the formalism and positivism which define musicology, identified with musical analysis, reveals its ideological nature, as the relation between analysis and organicity is the leading ideology. The American musicologist pleads for a more cultural form of musical criticism, supported by the exposure of the context and of the sources of the work objectified. According to Kerman, musicology had become more discoursively-critical and less positivist (so-called scientific), being more preoccupated with interpretation than with information on the writing details and historical data; it had reconquered its interdisciplinary valences and envelopped all musical genres. Analysing the effects of this direction on the Romanian musicological discourse, we do two case studies: 1. the recent collective work Noi istorii ale muzicii românești [New histories of Romanian types of music], coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță in the direction of emphasising and/or cancelling the effects of (nationalistic, socialist-realist) ideology on the value judgement of the anthologised musical and creative phenomena; 2. the musical comedy Amorul doctor [Dr. Love] by Pascal Bentoiu, regarded from the perspective of the relation between the artistic value and the cultural trajectory broken by the obscurity of Romanian society in the first half of the 1960 decade.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Schubert’s “Tenth”: an Interpretation Between
           Construction and Restitution

    • Abstract: In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical works, with a distinct approach. The intention of the British composer and conductor Brian Newbould was to finish the symphony in the way that Schubert himself would have done, anchoring the musical ideas from the sketches in the composer’s style. Peter Gülke approached the sketches through the eyes of the researcher and the analyst, with the intention of obtaining their most accurate and authentic reproduction, emphasizing the materialization of some of Schubert’s possible intentions. Finally, Luciano Berio manages in Rendering to musically render the sketches per se, imagining a musical fresco where the concrete musical ideas, written by Schubert, are deliberately mixed with the provisional character of the manuscript.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Ștefan Angi – the encyclopaedic musicologist

    • Abstract: On 2 October 2021 we celebrate one year since the distinguished Hungarian aesthetician, philosopher, musicologist and professor Ștefan Angi from Cluj-Napoca passed away, an opportunity to meditate on this encyclopaedic researcher’s outstanding scientific work. If we go through the studies published in specialised journals (Lucrări de muzicologie [Musicology Papers], Muzica [Music] Journal) or books Muzică și estetică [Music and aesthetics] (1975), Muzicalitatea esteticului [The musicality of aesthetics] (2001), Modele al frumosului musical [Models of musical beauty] (2003), Prelegeri de estetică muzicală [Lectures on musical aesthetics] (2004 – two volumes and four tomes), De la valoare la semnificație [From value to meaning] (2005), Fotografii la minut din atelierele compozitorilor clujeni [Instant photographs from composers’ workshops in Cluj-Napoca] (2008), Site de in. Scrieri despre muzică [Flax sieves. Writings on music] (2013), Cornel Țăranu - Mărturisiri mozaicate. Studii și eseuri [Cornel Țăranu - Mosaic confessions. Studies and essays] (2014), Divertismente. Eseuri [Trifles. Essays] (2018), we observe that his lordship fundamentally contributed to various fields of music research: aesthetics, stylistics, rhetoric, musicology. Starting from the published confessions of those who knew him (Cristina Șuteu, Gânduri, Cuvinte, Fapte. Dialog cu Ștefan Angi [Thoughts, Words, Acts. Dialogue with Ștefan Angi], interview in Actualitatea Muzicală [Music news], 2016; Pavel Pușcaș, Ștefan Angi - Hominaticum Magistri – portrait in Muzica [Music] Journal, 2021), we will attempt to comment on some of the volumes of studies or according to the genre of the monograph, in order to emphasize particular features of the musicological writings of researcher Ștefan Angi.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Innovative Aspects of the Modern Concerto (extravagant compositional
           models of the 20 century)

    • Abstract: The instrumental concerto remains one of the most appreciated genres – both by the general public and by virtuoso interpreters – all throughout its existence, including the 20th century. The century of acute modernity saw a re-evaluation of all the musical forms and genres, resulting in novel challenges, solved in unexpected ways by the great composers of the time. This paper aims to provide a summary of the evolution of the concerto in the music of the 20th century, highlighting certain elements of originality, extravagant compositions which go beyond the principles of musical creation.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Nikolai Myaskovsky – 140 birth anniversary. Rediscovering the
           composer in the present times

    • Abstract: On the occasion of the 140th anniversary of composer Nikolai Myaskovsky’s birth, in the spring of 2021, in the city of Ekaterinburg there took place the Myaskovsky Dialogues festival dedicated entirely to the Russian composer, being one of the few musical events with a musical programme based on his works. Known as the “father” of the Soviet symphony, Nikolai Myaskovsky was one of the pillars of resistance in Russian music culture in the first half of the 20th century, managing to maintain a stylistic balance between traditional genres, harmonic language with innovative tendencies, ideas promoted within the new political system and a neutral way of integrating communist ideals musically. Although his contemporaries perceived him with respect and consideration, N. Myaskovsky was discredited after the tensions and political events of 1948, entering a shadow zone during the Cold War, until the fall of the Iron Curtain. Therefore, it was only in the last three decades that he was rediscovered in the music world, due to the interest given to his works by well-known conductors such as E. Svetlanov, V. Gergiev, V. Petrenko, V. Jurowski. In this paper, our aim is to accomplish a historical perspective on N. Myaskovsky’s rediscovery and his approach in concert programs, records, reviews, chronicles, articles, musicological studies, papers and volumes from the 1970s to the present.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • and “pinning down” the present in essays by Leoš Janáček and Milan

    • Abstract: I ask myself the question: can those who compose music be called interpreters' Not of their own work but of the sonorities they imagine while writing. When composers take over (note on staves or record with technical means) sonorities from the environment, which they then use in their works, are they or not interpreters, in the sense of translating what they hear' Should we only mention Vivaldi and Haydn or, closer to us, Messiaen and Stockhausen, composers of all times have used, translated, interpreted the sounds of nature in their works. That is what the Czech Leoš Janáček does also, only that, by registering ambiental sonorities, he has a further goal, unlike the others: pinning down the present time. This idea is revolutionary in music, so it has drawn many researchers’ attention. A privilege of music, interpretation wears in literature the coat of exegesis. A great contemporary thinker, Milan Kundera is the author of the essay Testaments betrayed, in which he compares literature with music, having as references, among other writers, Hemingway and Kafka, which he joins with the great composers Stravinsky and Janáček. Fascinated by his fellow citizen’s musical-ontological concept, he dedicates the fifth part of the study to him, entitled Á la recherche du présent perdu. The study presents the way in which Janáček pins down the past in an own essay, Smetanova dcera (Smetana’s daughter), where he uses his renowned nápěvky mluvy (speech melodies). The result is amazing: through the daughter’s voice, one seems to hear the father, the great Bedřich Smetana’s voice in a fragment of life resurrected after time has passed. Kundera asks questions and formulates answers, interpreting, translating Janáček’s concept. This work does not interpret, but brings to the knowledge of the interested musicians aspects which, although belonging to renowned Czech intellectuals, enrich and embellish the spirituality of the world.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Performers and musical texts – a controversial relationship

    • Abstract: The present study departs from the debates caused by the idea of performers’ faithfulness to composers’ intentions in the context of Western-European type academic music. In the musicological research of the past three decades there appeared significant changes in approaching the relationship between performers and musical texts, which I set out to comment from a performer’s perspective. I wish to outline a few answers to questions posed by the desideratum of faithful interpretation in the performing act of composers’ intentions:▪ are musical texts faithful mirrors of the works conceived by composers' To what extent can performers know composers’ intentions from reading musical texts'▪ what is the degree of freedom that performers can assume in interpreting musical texts noted by composers' To what extent are the two requirements of the performing act – respecting composers’ intentions and being creative – compatible'▪ what does performers’ creativity consist of and how is it manifested'Departing from the premise that the analysis of the relation between composition and research in performing a musical work can supply us with some answers to these questions, I set out to prove that:▪ performers can be creative without encroaching on composers’ copyright;▪ the analysis of musical texts opens a wide field for performers, in which their creativity can be manifested by knowing and observing the laws governing the makeup of the performed work.
      PubDate: Sat, 14 May 2022 00:00:00 GMT
  • Emotional and spiritual intelligence, aesthetical and semantic

    • Abstract: Musical art is built on its semantics, in the absence of semantics – which is the main reason why a composer writes music, why a singer interprets it, but also the most important reason for the music listener as the receiver – music loses its meaning. Musical compositions can be problematic for interpreters and listeners at various levels of human sensitivity, intelligence and semantic ability, which are all fundamentally connected to conveying and receiving a message transmitted through music. These creations have emotional (psychological) implications, but also more profound ones, spiritual (religious), of which we are more aware and which are emphasized if we take into consideration the concepts of EMOTIONAL INTELLIGENCE and SPIRITUAL INTELLIGENCE.
      PubDate: Wed, 12 May 2021 00:00:00 GMT
  • Interdisciplinary aspects in organizing the Music Education lessons

    • Abstract: The 21st century brings many changes in the education system regarding the teaching-learning-assessment process. Moving the importance from knowledge to the skills gained by the student requires the rethinking of the didactic strategies, and interdisciplinarity wins more and more in front of the monodisciplinary activities. On the other hand, the presence of technology in the traditional space dedicated to learning has led to the creation of new contexts in which the students can acquire new knowledge, develop skills trained in different subjects. The special circumstances in which school has been in 2020 put the importance of technology on a high level in the teaching-learning-assessment process. Online education has brought new challenges, which have added personal concerns for interactive and interdisciplinary activities. Therefore, our paper presents several ways of approaching interdisciplinarity in Music Education lessons, providing solutions validated by the results obtained in activities with students.
      PubDate: Wed, 12 May 2021 00:00:00 GMT
  • Tradition and Characteristics in the Approach to Psaltic Music Theory in
           Romania – the 20 Century

    • Abstract: Throughout the 20th century, Byzantine music theory was a constant preoccupation of chanters, teachers and musicians, who contributed to the development of this field and to the publication of a significant number of books in the Romanian language. The paper addresses these theoretical contributions based on several key elements: conception, structure, content, vocabulary, musical exercises and examples, extension, graphic aspect, relevance in the era –, but also in the context of the development of a specialized literature in Romanian. The analysis of these books reveals that everything that was published in Romania in the 20th century in the field of psaltic theory remains within the confines of the Byzantine tradition, faithfully passed down to the modern era. At the same time, the changes that the Romanian society went through in the second half of the century influenced the manner of approach to the theoretical notions, which were treated in the light of staff notation and Western music theory. However, over the course of the 20th century, successive authors managed to develop a specialized terminology in Romanian and to transmit the notional content specific to the Byzantine tradition.
      PubDate: Wed, 12 May 2021 00:00:00 GMT
  • [New histories of Romanian types of music] – The most important
           editorial publication in the Romanian musicology of recent years

    • Abstract: The vast work Noi istorii ale muzicilor românești [New histories of Romanian types of music]1 (816 pages), published by Editura Muzicală in 2020 was a project of the Romanian Composers and Musicologists’ Union, represented by composer and university professor Adrian Iorgulescu, a project meant to mark the celebration of a century of activity of the organisation. The two volumes of the New histories, coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță, reflect the fulfilment of a long research project, begun in the 1990s, with a view to reassessing the musical past of Romania, expressing ideas verified in time through repeated analyses. The coordinators’ vision is edified through the following directions: 1. the joining of all musical genres – Byzantine, folkloric, military, academic, jazz, entertainment – and creating a modern perspective on the types of Romanian music; 2. using the tools of modern musicology – interdisciplinary relating, archival and recent bibliography, an objective, critical, accessible style, efficient and orderly elaboration; 3. removing all influences of the communist ideology reflected by the writings about music in the second half of the 20th century by assimilating the ideas formulated by historians after 1990; 4. capitalising on foreign authors’ writings about Romania and about Romanian music, but also on last-minute research on international music for the synchronisation with the contemporary manner of historical research.
      PubDate: Wed, 12 May 2021 00:00:00 GMT
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