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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.
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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.
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Breitenfeld, Darko, Vesna Lecher-Švarc, Davorka Perić, Marija Pranjić, Matej Akrap, and Davor Kust. "Destinies of Croatian 20th Century Composers." Archives of Psychiatry Research 56, no. 1 (February 15, 2020): 75–82. http://dx.doi.org/10.20471/may.2020.56.01.07.
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Bedford, Frances. "Major 20th-century composers and the harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 17–24. http://dx.doi.org/10.1080/07494460100640031.
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Činč, Euđen, and Jasmina Stolić. "Romanian composers' spiritual creativity in the 20th century: Musical hagiography of the ordeal of a society." New Sound, no. 47 (2016): 121–28. http://dx.doi.org/10.5937/newso1647121q.
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The spiritual music creativity of Romanian composers in the 20th century underwent numerous phases, between their zenith and despair, due to societal events specific for all of Eastern Europe in the past century. Despite the fact that this creativity, in essence, expresses the tradition of the East, and does not seek to minimize its Byzantine roots, many composers, especially in the second half of the 20th century, left aside the elements of these aesthetics and directed their creative focus towards new creative tendencies. This work reviews the works based on spiritual topics by 20th century Romanian composers, from the first decades, including the years of Communist government, till the days when they set out on a postmodern creative course, and it presents the names of the majority of composers who dedicated their works to the worship of the Almighty, analyzing thoroughly the information found at the Union of Composers and Musicologists of Romania in Bucharest.
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Palkovic, Mark. "Sources: Musicians and Composers of the 20th Century." Reference & User Services Quarterly 49, no. 3 (March 1, 2010): 295–96. http://dx.doi.org/10.5860/rusq.49n3.295.
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Ladič, Branko. "Transformations of folklorism in 20th-century Slovak composition." Studia Musicologica 56, no. 4 (December 2015): 367–95. http://dx.doi.org/10.1556/6.2015.56.4.6.
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Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.
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O'Loughlin, Niall. "Slovenian Music in its Central European Context: the 20th-century experience." Musicological Annual 40, no. 1-2 (December 17, 2021): 267–76. http://dx.doi.org/10.4312/mz.40.1-2.267-276.
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Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s and 1930s. Kogoj's strong links with Viennese expressionism were well expressed in the opera Črne maskeof 1927, while Osterc's connections with Hindemith, Honegger and others is evident in the opera Krog s kredo and orchestral works such as Mouvement symphonique. On the other hand, Kozina, Arnič and Škerjanc developed a less advanced style and kept less contact with the rest of Europe. The political situation in the 1940s and 1950s made outside travel difficult, changing the situation dramatically. Composers such as Ramovš and Uroš Krek had different experiences: Ramovš managed to study with Frazzi and Casella in Italy, while Krek did not study abroad. Both, however, produced works in a distinctive neo-classical style that typified the immediate post-war period. Ivo Petrić's music follows the styles of Prokofiev and Shostakovich. From the late 1950s onwards the situation changed with strong contacts with Croatia, Poland and countries of the West: France, Germany, the United Kingdom and the United States in particular. This contact encouraged the emergence of a new avant-garde in Slovenia in the 1960s with such composers as Petrić, Ramovš, Lebič, Jež, Božič, Matičič, Globokar, Stibilj and Štuhec coming into prominence. Later they were joined by Pavel Mihelčič and Maks Strmčnik. Matičič and Globokar mostly stayed abroad, while Stibilj returned permanently later. In the decades before and after independence in 1991, a new generation of composers became established, with the most advanced composition by Aldo Kumar, Uroš Rojko, Tomaž Svete, Brina Jež-Brezavšček and Nenad Firšt. Postmodern tendencies are found in the music of Jani Golob and Marko Mihevc. Ali these composers are providing the Slovene musical scene with a wide variety of distinctive music that is both challenging and interesting.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.
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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.
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COROIU, Petruța-Maria. "A perspective on the concerto genre in the 20th century." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 49–56. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.5.
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The instrumental concerto remains one of the most appreciated genres – by the general audience as well as by virtuoso interpreters – throughout its existence, including the 20th century. However, the century of acute modernity afforded a reevaluation of all the musical forms and genres so that new unsuspected challenges emerged, which were solved in the most unexpected ways by the great composers of the time. This paper aims to offer a brief perspective on the evolution of the concerto genre in the music of the 20th century, highlighting several elements of originality, with a succinct analysis of more compositions in the general framework of articulating the formal discourse. The concerto has survived in the art of the 20th century, even in the creation of the most avant-garde composers, perhaps especially because of aspects concerning virtuosity and the competition between a soloist and an orchestra.
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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.
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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).
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Ledbetter, Steven, and Carol J. Oja. "American Music Recordings: A Discography of 20th-Century U.S. Composers." American Music 5, no. 3 (1987): 346. http://dx.doi.org/10.2307/3051752.
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Kim, Kyung Eun. "A Study on Concerto Grosso Works by 20th-century Composers." Music Theory Forum 29, no. 2 (December 30, 2022): 95–130. http://dx.doi.org/10.16940/ymr.2022.29.2.95.
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TOTAN, Virginia. "Musical styles approached by Serbian composers in the first half of the 20th century." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 183–92. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.18.
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The musical creation of Serbian composers is not well known in the European area, primarily due to censorship in the first half of the 20th century when music influenced by European orientations was considered capitalist and was banned on the one hand, and on the other hand due to the fact that most of the works are written in Cyrillic and thus did not reach the European research circuit. It should be mentioned that the course of development of music history in Europe, with its periodization into stages of Baroque, Classicism, Romanticism, Impressionism, Expressionism, Neoclassicism, Avant-garde, and Postmodernism, was not applied to music in Serbia. However, all these styles will be found in the musical creations of Serbian composers in the period from the end of the 19th century and during the 20th century.
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Gevorkian, Armen. "Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction)." Literary Fact, no. 15 (2020): 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.
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While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov
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Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.
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Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.
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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (December 1, 2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.
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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. It became the target for most violent ideological criticism, which reached its zenith at the threshold of 1940’s 1950’s. 3. Stravinskys visit to the USSR (1962) had a crucial meaning for the expansion of his influence. The main factors of the influence: 1. After the 1920’s the direct influence of Stravinsky on the Russian music was at first rather obvious. At that time, one could observe it through a whole set of compositions by “leftist” composers from the circle of The Association Of Modern Music; they understood Stravinsky’s music as a renewed, contemporary musical tradition of Russia. 2. A revival of the influence of Stravinsky’s music began in the 1960’s, probably in connection with “the new folkloristic wave” in the national oriented works of young composers, who belonged to a large extent to “the Soviet avant-garde”. Resumé: Stravinsky’s work was ideal as a model for the development of the Russian music in the 20th century.
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Burgess, Samantha. "Commentary on Harrison: "Social Mechanisms of Stylistic Change"." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 265–67. http://dx.doi.org/10.18061/emr.v15i3-4.8134.
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This is a review of Harrison's (2021) paper "Social Mechanisms of Stylistic Change: A Case Study from Early 20th-Century France." In this study, Harrison found that the Apaches, a group of composers known for pushing stylistic boundaries in 20th-century France, employed slightly more instances of notated meter change in their music than a control group of their peers, but that the use of notated meter change also depended on other factors such as composers' generational membership. This commentary primarily explores Harrison's methodologies: while the stringent definitions Harrison defines for each variable in her studies allow for specificity in the statistical analyses, they leave out a large portion of perceptually relevant data that would lend greater musicological generalizability to the results presented.
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Kudiņš, Jānis. "FRAGMENTARY AND MODERATE MODERNISM IN LATVIAN MUSIC HISTORY ." Culture Crossroads 19 (October 11, 2022): 111–25. http://dx.doi.org/10.55877/cc.vol19.31.
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The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article offers a focused (panoramic) characterisation, looking at local peculiarities of adaptation and representation of modernism in Latvian music history in the 20th century.
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Finkelshtein, Yulia A. "Features of mass culture in works for guitar by Russian composers of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 64 (2022): 304–15. http://dx.doi.org/10.37816/2073-9567-2022-64-304-315.
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The influence of subculture is characteristic for academic works of the 20th century, including those written for a six-string guitar and compositions with a guitar part. Many authors have recognized the instrument as an attribute of mass culture since the Middle Ages. Democracy as a historical property of the guitar leaves its mark on academic music that addresses it. Having never been a part of orchestras before, guitar becomes a permanent and almost the main member of the jazz ensemble. The paper discusses the diversity of embodiment of the features of mass culture in academic Russian guitar works of the 20th century. Melodic and harmonic features of the proletarian song are introduced by composers of the Soviet period (Asafyev, Shebalin, Retchmensky, Kamaldinov) into guitar opuses. The author shows that the instrument is perceived by composers of the second half of the century as a phenomenon of mass culture, and therefore the introducing of guitar into the score entails the use of means from its arsenal — melodic-harmonic, rhythmic, textured, compositional. The specifics of the film industry express themselves in the introduction of a part of the soundtrack into the work, the use of montage techniques. The study revealed that the influence of pop music and jazz styles manifests itself in pieces for the guitar solo by composers of the second half of the 20th century, whose style is formed on the basis of performance (Vinitsky, Rudnev, Koshkin, Kozlov).
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Garlińska, Paulina, and Magdalena Bąk. "Works by the 20th/21st century composers from Łódź for a guitar – harpsichord duo." Notes Muzyczny 2, no. 12 (December 13, 2019): 61–98. http://dx.doi.org/10.5604/01.3001.0013.7168.
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The combination of the guitar and harpsichord has inspired composers all over the world for years. Łódź is the place where the greatest number of such pieces in Poland has been written by Jerzy Bauer, Bronisław Kazimierz Przybylski, Sławomir Kaczorowski, Stanisław Mroński, Andrzej Cwojdziński, and others. The creative output of the composers listed above for instruments such as the harpsichord, which is mainly associated with early music, and the guitar, which had its rebirth after WWII, is worth discussing. Composers from Łódź have made a great contribution to the development of literature for such an unusual line-up. Almost all compositions have been written for the Stefańska – Oberbek duo who were active in Cracow in the second half of the 1980s. The present article is mainly based on the materials shared by the guitarist Jan Oberbek and the Elżbieta Chojnacka Center for Contemporary Harpsichord Music. The materials have been discussed in terms of their content, which may be of value for new performers of this music. In each of these works an instrument player faces different problems and unusual solutions for a given instrument, which gives an artist the freedom of interpretation but at the same time creates a challenge related to analysing the piece and searching for a solution for a problem. The sound idiom of the guitar and the harpsichord was the inspiration for the aforementioned composers to create the literature valuable both for artists and for audiences. Unfortunately, this repertoire is hardly ever performed.
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Kudiņš, Jānis. "Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century." New Sound, no. 56-2 (2020): 213–38. http://dx.doi.org/10.5937/newso2055213k.
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This article focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.
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Maher, Erin K. "Music and the Spiritual: Composers and Politics in the 20th Century." Modern & Contemporary France 21, no. 1 (February 2013): 111–12. http://dx.doi.org/10.1080/09639489.2012.753425.
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Coroiu, Petruta Maria. "Innovative Aspects of the Modern Concerto (extravagant compositional models of the 20th century)." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 120–28. http://dx.doi.org/10.2478/ajm-2022-0009.
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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.
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Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.
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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
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Mika, Bogumiła. "'Playing with times': Polish sur-conventionalism of the 1980s." New Sound, no. 46 (2015): 45–59. http://dx.doi.org/10.5937/newso1545045m.
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When postmodernism reached the height of intensity in the 20th century and was attracting the attention of Euro-American artistic critics, Polish composers proposed an alternative way of writing music. They invented the term "sur-conventionalism" as a way to experiment with different musical conventions from past epochs. The aim of this paper is to describe some examples of Polish sur-conventional music written by such composers as Paweł Szymański, Stanisław Krupowicz and Paweł Mykietyn.
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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.
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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.
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Glushkova, Svetlana. "PIANO WORKS OF THE POLTAVA COMPOSERS IN THE EDUCATIONAL REPERTOIRE OF THE MUSICAL INSTRUMENT." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 123–33. http://dx.doi.org/10.33989/2226-4051.2018.18.176330.
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The question of the formation of personality and professionalism of the future music teacher with national repertoire is analyzed. Peculiarities of development of musical art of different periods of the 19th-20th centuries are characterized. National educational value of piano works of Ukrainian national school of composers XІX – XX century; their didactic and cognitive potential reasonably allows you to include them, along with the works of Western European and Russian composers, into learning repertoire of students of music of higher educational institutions. Significant creative achievements, active educational activities of well-known and little-known figures of Ukrainian national composer school of Poltava region from the beginning of the 19th and the middle of the 20th century – A. Yedlychki, M. Lysenko, P. Shchurovsky, M. Kolachevsky, L. Lisovsky, S. Shevchenko is highlighted. Inclusion of their piano works in the modern educational repertoire of students of higher pedagogical educational institutions in the mastering of «Musical Instrument» course is considered. Their piano pieces are played in concerts, exams, performances. Study of the musical repertoire of the Ukrainian composers of Poltava region, understanding the characteristics of its various genres, creates ample opportunity for spiritual formation of the future music teachers.
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Slobodchikova, Anastasiya Yu. "Avant-Garde Scores as a Subject of Artistic Interpretation in Modern Rock Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 64–73. http://dx.doi.org/10.33779/2782-3598.2022.2.064-073.
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The artistic interpretation of musical works by academic composers is an integral component of certain styles of rock music, identified back in the 1960s at the very early stage of its formation. At the present time, various arrangements, transcriptions and adaptations, along with quotations of works from different periods, from medieval music to contemporary composer's music, have not lost their relevance and have remained part of the performing practice of rock musicians. This article is about the dialogue with 20th century music, in the interpretation of which the artistic qualities have not lost their value, but, on the contrary, have been reevaluated and enriched. In the albums of progressive rock, jazz-rock, fusion and avant-rock performers, 20th century contemporary composers’ music is cognized in a new way, from the use of short fragments borrowed as a source of the musical thematicism to the recreation of large cyclic forms. At the same time, an important aspect of the artistic creativity of individual musicians is their interest in verbal musical scores of the avant-garde trends, as well as spontaneous improvisational forms of minimalism, which have had ample opportunities for performing interpretations and have instigated the emergence of rock interpretations. Rock musicians, stemming from avantgarde musical texts, have tended to create a self-sufficient artistic integral entity, as in the case of In 0 to ∞ by ACID MOTHERS TEMPLE & THE MELTING PARAISO UFO, the structures of which have been based on Terry Riley’s In C. In conclusion, the album Goodbye 20th Century by SONIC YOUTH with selected works by avant-garde composers (Steve Reich, Cornelius Cardew, Christian Wolff, John Cage and Pauline Oliveros), which has formed an important stage in the history of experimental rock at the turn of the century, is examined.
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Uscher, Nancy. "A 20th–Century Approach to Heterophony: Mark Kopytman'S ‘Cantus II’." Tempo, no. 156 (March 1986): 19–22. http://dx.doi.org/10.1017/s0040298200022087.
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Plato discussed the term ‘heterophony’ in his Laws, Part VII, The technique was widely in use by the Notre Dame school of composers in 12th-century Paris. Much of the indigenous music of the Near East and Africa is rich with it. Indeed, there is an important example in the Credo of Beethoven's Missa Solemnis. The Israeli composer Mark Kopytman has in recent years transformed this ancient term into a vital 20th-century technique, and made it the language of some of his important compositions. One of these, Cantus II for violin, viola, and cello (1980), will be performed at the ISCM World Music Days during March in Budapest.
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Gamurari, Pavel. "ROMANIAN POETRY FROM THE TWENTIETH CENTURY AND MUSIC." Akademos 60, no. 1 (June 2021): 125–29. http://dx.doi.org/10.52673/18570461.21.1-60.16.
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The article outlines approaches and syntheses of high complexity, made within the framework of reference compositional creations by leading composers from Romania and the Republic of Moldova. Among them are Sigismund Toduta, Paul Constantinescu, Vasile Spatarelu, Felicia Donceanu, Viorel Munteanu, Dan Voiculescu, Vladimir Rotaru, Vlad Burlea, etc. The compositional approaches to poetic sources, which fall within the musical trends of the 20th century and are representative of national and universal music, are particularly diverse and original.
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Kanevskaya, Galina I. "Russian Libraries in Australia in the 20th Century." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 80–85. http://dx.doi.org/10.25281/0869-608x-2009-0-3-80-85.
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The article deals with review of the history of Russian librarianship in Australia. The role of libraries in preservation of Russian language in the Russian diaspora and national identity in the being in the strange cultural space is defined.
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Skipp, Benjamin. "OUT OF PLACE IN THE 20TH CENTURY: THOUGHTS ON ARVO PÄRT'S TINTINNABULI STYLE." Tempo 63, no. 249 (July 2009): 2–11. http://dx.doi.org/10.1017/s0040298209000229.
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Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of these procedures has naturally resulted in a diminished sense of human labour within the compositional process and, at times, the total loss of a composer's authorial voice. The tintinnabuli music of Arvo Pärt stands out against the general tendency of such repetitive-based composers to harness the latest technology, to the extent that some commentators have baulked at the term ‘minimalist’ as an appropriate category. Robert Schwarz, for example, believes ‘neo-medievalist’ to capture something of Pärt's particular adoption of a supposedly pre-modern, non-technological attitude, while Josiah Fisk opts for the ‘new simplicity’ to describe (negatively) Pärt's monochromaticsm.
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Olmstead, Andrea. "The Copland–Sessions Letters." Tempo, no. 175 (December 1990): 2–5. http://dx.doi.org/10.1017/s0040298200012547.
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Significantly, two of the best known 20th-century American composers, both Brooklyn-born, did not meet each other on US soil. Aaron Copland and Roger Sesssions first met in Paris in 1924 at Nadia Boulanger's apartment. In 1926 a long correspondence began that lasted until the 1970s, but which was concentrated in the decade 1926-1936: of the 107 extant letters between them, fully ninety fall into this decade. Clearly, in 1936, a falling out occurred between the two composers; at the end of this article, I shall hazard a hypothesis as to why.
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Ziarnowska, Zuzanna. "Wizje Apokalipsy w muzyce XX wieku (Olivier Messaien, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń)." Kwartalnik Młodych Muzykologów UJ, no. 53 (2) (September 19, 2022): 59–72. http://dx.doi.org/10.4467/23537094kmmuj.22.009.16246.
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Visions of the Apocalypse in 20th-century Music (Olivier Messiaen, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń) This article aims to various interpretations of The Apocalypse of St. John in 20th-century music. Because of its comprehensive use of symbols and mystery, The Apocalypse was often an inspiration for painters, poets, and composers. Particularly, worth analysing are symbols and visions used in selected compositions, such as The Quartet for the End of Time by Olivier Messiaen, Black Angels by George Crumb, Apokalipsis and Septem Tubae by Bernadetta Matuszczak, Symphony ‘1999’ by Aleksander Lasoń. Seven trumpets, seven horns, God’s anger, angels, destruction, God’s omnipotence, the victory of good over evil, and hope—those are the most common symbols used in these compositions. Transcendental and mysterious meaning is reflected by composers in various ways (from timbre and instrumentation, rhythmic diminution and tempo that shows eternity, to quotations and characters from The Apocalypse). Music written by different authors gives us a broad perspective on how the topic of Apocalypse was adapted in music.
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Bukreev, Valeriy. "http://inion.ru/site/assets/files/6134/integratciia-i-assimiliatciia-muzykalnykh-komponentov-dzhazovoi-i-akademicheskoi-muzyki.pdf." Herald of Culturology, no. 2 (2021): 79–89. http://dx.doi.org/10.31249/hoc/2021.02.05.
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The article examines the evolution of thinking of American and European composers of the early 20th century, the expansion of their musical horizons in connection with the birth and emergence of Early Jazz, a new rhythmic music in the South of the United States. Almost all famous composers of the beginning of the century, to one degree or another, turned to jazz, each in his own way refracting new rhythms and harmonies in their work. In this process, the initial, basic material was professional composer compositions, and jazz contributed to assimilation. The article examines experiments of interest from the perspective of fusion of musical genres, synthesis of elements of the musical language, which later anticipated the birth of the unique musical style «Fusion».
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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.
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"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "
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Harrison, Jane. "Social Mechanisms of Musical Stylistic Change: A Case Study from Early 20th-Century France." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 160–75. http://dx.doi.org/10.18061/emr.v15i3-4.7469.
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This study examined notated meter changes in scores by French composers to probe the role of sociological mechanisms in musical stylistic change. The stylistic feature of notated meter changes, which indexed metrical complexity, was conducive to empirical observation and functioned as a salient innovation in France around 1900. The principal sociological variable was membership in the Apaches artistic club, known for its avant-garde identity. A hypothesis that the Apaches would use significantly more meter changes than their peers was supported. Additional explanatory variables were derived from previous historical research on French composers and from theories about stylistic change. A complex relationship between the stylistic feature and social mechanisms emerged, involving multiple, overlapping social structures. The Labovian sociolinguistic approach was especially resonant in this data, as a composer's proximity to certain individuals, groups, and institutions in the social space related to their degree of enthusiasm for metric innovation. In addition, sociolinguistic theories about stylistic variation in human languages were consistent with patterns in this data set. Finally, a descriptive title was also a significant explanatory variable, which implicates the Labovian notion of register and the importance that Meyer gave to aesthetic goals in musical stylistic change.
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Romanets, Mariya S. "Self-Derivation in the Oeuvres of 20th Century Composers: Towards Setting the Problem." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2018): 65–71. http://dx.doi.org/10.17674/1997-0854.2018.3.065-071.
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Rzepecki, Karol. "Recepcja twórczości Józefa Wieniawskiego w świetle XIX-wiecznego piśmiennictwa – przegląd źródeł." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 105–39. http://dx.doi.org/10.4467/23537094kmmuj.20.019.13205.
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Reception of Joseph Wieniawski’s work in the light of nineteenthcentury literature – a review of sources The work of Polish composers active at the turn of the 20th century has largely been forgotten, awaiting to be researched nowadays. Józef Wieniawski and his output, which used to attract the attention of Polish and foreign critics, is the case in point. This article seeks to provide a synthetic study of this issue on the basis of 19th century literature.
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O'Loughlin, Niall. "What is English music? The Twentieth Century Experience." Musicological Annual 43, no. 1 (December 1, 2007): 147–66. http://dx.doi.org/10.4312/mz.43.1.147-166.
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Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.
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Demchenko, Alexander I. "The Musical Oeuvres of Georgy Sviridov." ICONI, no. 4 (2020): 153–70. http://dx.doi.org/10.33779/2658-4824.2020.4.153-170.
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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich and Aram Khachaturian. This series is continued with a lecture about the music of Georgy Sviridov. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (The Musical Oeuvres of Sviridov in the Mid-20th Century, The Musical Oeuvres of Sviridov in the 1960s and 1970s, the Late Oeuvres of Sviridov) examines the foundational principles of the composer’s vivid individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the middle and second half of the 20th century. During the exposition of the lecture fragments of his musical compositions are presented for analysis in performances recommended by the author, in their sum, providing a perspective of the most substantial aspects of Sviridov’s musical legacy.
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Causton, Richard. "NICCOLÒ CASTIGLIONI IN INTERVIEW, 1995 BY LUIGI PESTALOZZA." Tempo 63, no. 248 (April 2009): 12–20. http://dx.doi.org/10.1017/s0040298209000126.
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It is only in the twelve years since his death that the importance of Niccolò Castiglioni's music has begun to be properly appreciated. A growing list of recordings and scholarly writings has contributed to a reassessment of his importance and Alessandro Solbiati's view of Castiglioni as ‘one of the greatest Italian composers of the 20th century’ now looks likely to find general acceptance.
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Sandu-Dediu, Valentina. "Towards Modern Music in Romania." East Central Europe 30, no. 2 (2003): 1–19. http://dx.doi.org/10.1163/187633003x00117.
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AbstractToo little known in the West, modern Romanian scores are being gradually discovered nowadays, beginning with those of George Enescu. For decades underestimated as a creator, Enescu has been re-evaluated and recently recognized as an original and authentic representative of an Eastern European music school, comparable with JanáČek or Szymanowski. The Romanian music of the past fifty years, due to the political and ideological situation of Romania, similar to other countries of the ex-communist Eastern European bloc, has been isolated geographically but not aesthetically. The great diversity of modern or avant-garde trends in Western European and North American music is also present in the output of Romanian composers of the same period, combined in various degrees with autochthonous nuances. Originating primarily in the two major oral traditions, namely peasant folk music and religious Byzantine music, these have compelled Romanian composers to find their own musical language. However, Romanian composers coming of age in the second half of the 20th century took their first steps on a well-established territory, from the standpoint of composition, style, and aesthetics. A solid school of music - built on structural foundations that gave it a distinct language - had already been established in Romania in the first half of the 20th century. Therefore, the following essay is a chronological outline of the historical development of Romanian composition, a process governed primarily by the tension between national elements and global trends.
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Thorne, Ross. "MODERNIST FORM IN EARLY 20th CENTURY THEATRES IN AUSTRALIA." Fabrications 5, no. 1 (September 1994): 87–113. http://dx.doi.org/10.1080/10331867.1994.10525075.
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Spurgeon, Christina. "Review & Booknote: Communication Traditions in 20th-Century Australia." Media International Australia 82, no. 1 (November 1996): 136–37. http://dx.doi.org/10.1177/1329878x9608200131.
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Buchok, L. V. "Pianoforte compositions “Etude” by D. Zador and “Impromptu” by I. Marton in the context of the problem of analysis and interpretation of the creative idea." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 113–26. http://dx.doi.org/10.34064/khnum2-13.09.
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Background. In the time of Ukraine’s state independence, the interest of scholars in reproduction of a coherent historically formed image of regional cultures arose. The thing is, that almost throughout the twentieth century the priority issue was that the term «international» was considered as «assimilated». However, in the second half of the 20th century signifi cant processes took place in Transcarpathia, which manifested the formation of a professional Transcarpathian composer’s school – a movement led by Dezyderiy Zador and picked up by other composers, in particular Ishtvan Marton. In particular, the interest of Transcarpathian composers in piano compositions is of considerable interest as one of the segments of the European professional tradition: on the one hand, it is a testimony to the higher level of professional training and the practice of possession of classical experience; on the other hand, a geographically designated vector of stylistic modelling in the context of the intonational fund and the semantic fi eld of the European academic piano music in its inextricable connection with historically contemporary European-style stylistic phenomena. In its turn, the style shaping initiatives of the Transcarpathian composers of the second half of the 20th century caused signifi cant changes in their theoretical understanding – in accordance with the change of the mental paradigm of artistic creativity from the classical to the post-classical, when the method of tracing “style features” (the initial model of the formation of the method of style analysis) can no longer clarify the essence of the author’s concepts and requires orientation to methodologically predetermined transformations in the basis of the theory of style (for example, the human-dimensional nature of style). The problem, therefore, is that, on the example of selectively taken piano compositions of Transcarpathian composers of the period of the second half of the 20th century to present methodologically updated position of their stylistic analysis and executable interpretation – in view of the achievements of musicological thought at the border of the 20th – 21st centuries concerning the interpretation of stylistic phenomena of the modern age as a certain innovation project and its development in the conditions of post-traditional professionalism. Thus, today the task is to expand the perceptions of the piano creativity of the composers of Transcarpathia in the context of the whole 20th century, which includes the phases of modernism, modernism and avant-garde, united by the idea of the ultimate autonomy of the style. The scientifi c novelty of the conducted research is the broadening of the ideas of the pianoforte art of the Transcarpathian composers in the context of the intonation fund and the semantic fi eld of the European academic piano music of the whole 20th century, which contains the phases of modern, modernism and avant-garde, united by the intention of extreme style autonomy. Objectives. The purpose of the work is to comprehend the specifi cs of the analytical elaboration and performer’s interpretation of the «Etude» by D. Zador and «Impromptu » by I. Marton as such that, given the characteristic of the Transcarpathian region, the priority of choral compositions in the fi rst half of the 20th century testifi es to the formation of the original style initiatives, namely instrumental, in particular piano music in the middle of the twentieth century. Methods. The comparative, phenomenological and functional methods of research are used, which in aggregate gav e an opportunity to relate to the realities of the development of the national (Ukrainian) musicology, to reveal the world-view specifi cs and the vectors of individual stylistic modeling in the pianoforte art of Transcarpathian composers of the middle of the twentieth century, to provide knowledge of the semantic structure of the studied musical works. Results. It has been found out that on the background of changes in the mental paradigm of musical creativity from classical to post-classical, the analysis and interpretation of real musical text requires its semantic decoding in the intention of an accurate explanation of the idea and the intention of a particular musical work. However, as it has been established, there is an urgent need to focus on the immanent property of the semantic structure of innovative musical «projects», which exactly in the second half of the 20th century mostly show heterogeneity of style modelling – in the version of the active associative of correspondence range in the space of historical styles. This will provide an opportunity to eliminate the disadvantages of the formal-logical analysis method, which usually provokes the establishment and description of purely stylistic values of the real musical text without attempts at their fi gurative and semantic interpretation, and even provides an approximate summary of the analysis data at the level of the creative idea and the composer’s plan. It is proved that «Etude» с-moll of Dezyderiy Zador is a brightly modern (secessionist) stylistic model based on the characteristic of post-romanticism author’s stylization of historically known stylistic systems, and at the same time it has a distinctly individual, characteristic image concept, whose dynamic structure is determined by dramatic (semantic) perspective of the inclusion of various sorts of allusions and reminiscences concerning the manner of piano music; in turn, «Impromptu» by I. Marton is an example of mastering modernist trends with their expressionist (pathologized) expression of their perception of themselves in a spiritually declined world, when the declamative articulation of sound forms and their crystalline fragility, which are intended to recreate the ratio of the vulnerability of the alienated subject and inexorably terrible destructive power from the outside. Instead, it has been observed that not always the performers of the mentioned works read their idea and decode the image system. In general, this indicates an inability to adequately respond to styling in the version of the neo-stylistic formation (neo-romanticism, neoclassicism, etc.) – when the attachment of auditory experience to a historically known style (like manners – romantic, classical, etc.) tends to subconsciously ignore the transition to a hierarchical level of renewal (neo – renewed) by introducing innovations (sonorism, abstractly tuned block model of themes etc.) and the search for a stylistic centre of gravity using the allusion way of style development (allusion as the kind of indirect quoting) that ensures the existence of the concept of the so-called mixed style. Conclusions. The comprehension of the stylistic character of the creative ideas and intentions of piano art of Transcarpathian composers of the second half of the 20th century based on methods of semantic decoding of the real notations is heuristically productive for their hermeneutic reception – in order to maximize the probable approximation to the essence and concept of a musical composition and its adequate (meaningful) reproduction by the performers.
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Król, Tomasz. "Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music." Notes Muzyczny 1, no. 11 (June 28, 2019): 87–108. http://dx.doi.org/10.5604/01.3001.0013.3523.
Full textAbstract:
In the article, the author analyses the influence of expressive elements on the listener’s experience based on sonatas for violin and piano composed by Polish composers at the turn of the 20th century. Music in the physical sense is an acoustic phenomenon where a listener is the recipient of the sound and emotions evoked by the music listened to. Musical awareness is also reflected in the progression of sounds that are interrelated in a special and original way. Functional concepts such the dynamics of the produced sound and sequences of sounds as well as their pace create a characteristic feature of the work. The author presents arguments in favour of the emotional reception of works by Polish composers.