Folk Music and Art Music in Hungary

Tempo ◽  
1963 ◽  
pp. 28-36
Author(s):  
Zoltán Kodály
Keyword(s):  
Folk Music ◽  
Art Music ◽  
The Other ◽  
Musical Language ◽  
Musical Work ◽  
Russian Music ◽  
Other Hand

When searching for Hungarian character in music, we must start out from a wider circle, where we can still find some traces of it, and then work towards increasing density. A linguist pays attention to words which can be found scattered in Latin documents or words which were picked up by foreign authors in a distorted or misinterpreted form. Sometimes one finds a phrase of melody also in a foreign musical work, the rhythm of which we feel to be of Hungarian provenance. Therefore it is necessary for us to examine the works of foreign composers, which by title or by theme, contain some Hungarian characteristics. It is possible that they have preserved Hungarian melodies, the Hungarian source of which cannot be found. On the other hand there are certain works which can approach the Hungarian character in music without taking over melodies at all. The existence of a special Hungarian musical idiom is proved by the fact that also foreigners can learn it, and can use it, as a language, well or badly. However, the nationality of the composer may be superimposed—especially in more serious works—on the foreign melodies he has borrowed. Beethoven's works based on Russian themes cannot be called Russian music, nor his Turkish March Turkish. In his Scottish songs he adapted even Scottish melodies to his own musical language. Still there is a ‘cantus firmus’ and, in some cases, we can speak about bilingual music when accompaniment and melody belong to two different musical languages.

scholarly journals New technologies and musical expression; other languages in education

Comunicar ◽  
2004 ◽  
Vol 12 (23) ◽  
pp. 25-30 ◽  
Author(s):  
Juan-Bautista Romero-Carmona
Keyword(s):  
Learning Process ◽  
New Technologies ◽  
The Other ◽  
Musical Language ◽  
Musical Expression ◽  
Other Hand ◽  
Language Spread ◽  
Nuevas Tecnologías ◽  
The One ◽  
Teaching Learning

This paper tries to show a brief but profound view about new languages of communication introduced at school. On the one hand, the musical language included in the curriculo and the other hand the technological language spread in our society in order to transmit the importance of new technologies as well as the different posibilities that they offer to the teaching-learning process inside the educational area focusing on the musical educational one. Con este artículo se pretende dar una visión superficial, pero cargada de intencionalidad, sobre algunos de los nuevos lenguajes de comunicación que se han implantado en la escuela. Por un lado, el lenguaje musical recogido en el currículo y por otro, el lenguaje tecnológico extendido en nuestra sociedad. Se intenta transmitir la importancia que tienen las nuevas tecnologías, así como las diferentes posibilidades que ofrecen para el proceso de enseñanza-aprendizaje dentro del ámbito educativo, centrándonos de manera especial en el campo de la educación musical.

scholarly journals Paweł Szymański’s Self-Analyses Reread

2015 ◽  
Vol 12 (1) ◽  
pp. 90-98 ◽  
Author(s):  
Katarzyna Naliwajek-Mazurek
Keyword(s):  
Major Part ◽  
The Other ◽  
Musical Language ◽  
Luciano Berio ◽  
Other Hand

Abstract The article is an attempt to present important categories of composer Paweł Szymański’s musical language, based on his self-analytical statements, which were in major part answers to musicologists’ questions. Luciano Berio pointed out why the situation of a composer who would like to address questions about his or her music is difficult - a lack of necessary detachment would be one of the reasons. A musicologist, on the other hand, is tempted to construct their own supposedly objective analytical view of a composer’s musical language. The dialogistic approach proposed by anthropological musicology may be a solution to these dilemmas. Other main topics mentioned in the article are related to the role of meta-concepts in Szymański’s musical language.

scholarly journals A musicalização e o desenvolvimento cognitivo de crianças a partir das inteligências múltiplas

2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Rosângela Agnolon ◽  
Demerval Rogério Masotti
Keyword(s):  
Cognitive Development ◽  
Multiple Intelligences ◽  
The Other ◽  
Academic Environment ◽  
Musical Language ◽  
Musical Work ◽  
Musical Intelligence ◽  
Childhood Education ◽  
Direct Contribution

Resumo: Desde os primórdios da civilização, a música está presente na vida dos indivíduos, provocando diferentes emoções, integrando pessoas, retratando épocas e culturas. É uma forma de sabedoria humana que, por meio do lúdico, possibilita preparar as crianças para a vida adulta. A música na educação infantil se refere à musicalização, tornando-se seu ensino obrigatório perante normas da Lei de Diretrizes e Bases (LDB). A escola não tem o propósito de formar músicos, todavia busca propiciar às crianças a vivência e a compreensão da linguagem musical e com isso viabilizar a abertura de canais sensoriais que facilitam a expressão de emoções, bem como ampliação cultural. O propósito do presente estudo é verificar se o trabalho com a musicalização na educação infantil contribui com o desenvolvimento cognitivo das crianças e o favorecimento de outras variáveis, como: interdisciplinaridade, atenção, percepção e evolução integral das crianças. Essa pesquisa atingiu seus objetivos, pois possibilitou identificar que a musicalização infantil se relaciona diretamente com o desenvolvimento cognitivo dos alunos por dizer respeito à inteligência musical que compõe as inteligências múltiplas das pessoas. As outras variáveis avaliadas também demonstraram que são favorecidas pelo trabalho com música. Os dados deste estudo podem auxiliar os membros do ambiente acadêmico e os demais participantes da sociedade, para que possam compreender determinados aspectos básicos pertinentes aos conceitos do trabalho com musicalização que ocorre nas escolas. Porém, sugere-se que sejam realizados outros estudos baseados em metodologias que contemplam pesquisas de campo, para ampliar a compreensão do tema que se revela muito abrangente. Palavras-chave: Educação Infantil. Musicalização. Inteligência Musical. Inteligências Múltiplas. Desenvolvimento Cognitivo. THE MUSICALIZATION AND COGNITIVE DEVELOPMENT OF CHILDREN BASED ON THE MULTIPLE INTELLIGENCES Abstract: Since the beginning of civilization, the music is present in individuals’ lives, provoking different emotions, integrating people, depicting ages and cultures. It is a form of human wisdom that, by ludic means, making it possible to prepare children to adulthood. The music in childhood education refers to the musicalization, making its teaching obligatory by the norms of the Lei de Diretrizes e Bases (LDB). Although the school does not have the purpose of training musicians, it seeks to provide for children the experiencing and comprehension of musical language, therefore, allowing the opening of sensorial channels which facilitate expressing emotions as well as cultural amplification. The purpose of the current study is verifying whether applying musicalization in childhood education contributed to children’s cognitive development and favored other variables as interdisciplinary skills, attention, perception and their integral evolution. This research accomplished its objectives, since it allowed identifying the direct contribution of childhood musicalization in students’ cognitive growing by addressing the musical intelligence, one of the multiple intelligences. The other analyzed variables demonstrated that they are also favored by musical work. This study’s data may aid the members of academic environment and society in order to better comprehend certain basic aspects relevant to the concepts of musical work at schools. However, it is recommended to perform further studies based on methodologies contemplating field researches to amplify the comprehension of a subject that reveals an embracing itself. Keywords: Childhood Education. Musicalization. Musical Intelligence. Multiple Intelligences. Cognitive Development. 

scholarly journals A composição de imaginários assombrosos pelo sonoro único proposto nos filmes de animação de Fernando Cortizo

2020 ◽  
Author(s):  
Helena Maria da Silva Santana ◽  
Maria do Rosário da Silva Santana
Keyword(s):  
Human Experience ◽  
The Other ◽  
Visual Narrative ◽  
Musical Work ◽  
Evolution And Development ◽  
Philip Glass ◽  
Other Hand ◽  
New Look

In the analysis of the work of an author, we can see his evolution and development, not only at a technical and stylistic level, but also in the themes that define his being, his having, and his art. Through The Doll Thief, The Promise, The Cat Groomer and The Apostle of Fernando Cortizo we will analyze various work contents, in order to perceive in what way the music illustrates an imaginary, and how the use the stopmotion technique produces a discourse and a visual narrative, that will be used also by the composers Josh Rouse, Carlos Fernandez and Philip Glass in the structure of a sonorous that shows itself the author.It is our intention to perceive how the musical work is raised in order to elucidate these contents in the filmic proposals. We will look for facts and arguments that allow us to say whether the musical work, and the various elements that constitute it, are redefined in order to integrate better into the filmic contents, or if, on the other hand, they remain the same. We want to see if music emphasizing the image and builds another level of meaning, an alternative way of experiencing reality that, when not informed, appears cruel. In this set of films, filmmaker and other authors, draw a new look on human experience, allowing us a different reading of what is life, death, cruelty, sinister, ghostly. We want to understand how the different discursive plans compete there to clarify the works.

BAROQUE MINIMALISM IN JOHN ADAMS'S VIOLIN CONCERTO

Tempo ◽  
2012 ◽  
Vol 66 (260) ◽  
pp. 23-33
Author(s):  
Kheng Keow Koay
Keyword(s):  
The Other ◽  
Musical Language ◽  
Creative Imagination ◽  
Performance Practices ◽  
Musical Sound ◽  
Violin Concerto ◽  
Other Hand ◽  
Creative Methods ◽  
Harmonic Language ◽  
Stylistic Unity

AbstractThis study explores Adams's interpretation of Baroque genres and his creative methods that draw on a relationship between past and present in the Violin Concerto. In this composition, Adams not only revives Baroque musical language through new performance practices, but also draws together diverse musical idioms, creating a way to communicate with our society. Repetition plays a large part in the Violin Concerto, but more in the sense of variation and sequences than of literal repetition. On the other hand, techniques such as the Lombard Snap and “unequal-note’ (notes inégales) are not treated in a traditional way. Structurally, although there is no trace of motivic connexion throughout the work, the music does not lack stylistic unity. The ‘harmonic’ language is generally consonant, which reflects Adams's honor of conventional musical sound. The Concerto certainly demonstrates the composer's creative imagination.

‘Stage music’ in early nineteenth-century Italian opera

1990 ◽  
Vol 2 (1) ◽  
pp. 29-39 ◽  
Author(s):  
Luca Zoppelli
Keyword(s):  
Nineteenth Century ◽  
Mikhail Bakhtin ◽  
Social Condition ◽  
The Other ◽  
Musical Language ◽  
Musical Work ◽  
Early Nineteenth Century ◽  
Italian Opera ◽  
Modern Novel ◽  
Opposite Pole

It has become commonplace to assume that language and style in Italian opera are not a unified phenomenon, easily comparable with the language and style of a purely musical work. Rather they constitute the various elements of a plurilinguistic interplay in which the opposite pole from ‘the author’ is the characters: those figures whose personality, function and social condition command an individual musical language. Musical expression is determined by an interaction of the author's discourse with the fictive discourse of characters; even when one or the other seems to dominate, there remains an important, implicitly dialogic element, one that can sometimes be inferred solely from a sense of discordant context. In many instances, therefore, operatic discourse suggests analogies with the ‘dialogic’ nature of the modern novel posited by the Russian critic Mikhail Bakhtin.

scholarly journals Sacred-Musical Work of Authorship: the Genre’s Specifics

2015 ◽  
pp. 89-93
Author(s):  
Andrey B. Kovalev
Keyword(s):  
Creative Thinking ◽  
The Other ◽  
Orthodox Church ◽  
Musical Work ◽  
Other Hand ◽  
Musical Works ◽  
The One ◽  
The Church

The article examines the genre specifics of the sacred-musical works of authorship; on the one hand, they belong, directly or indirectly, to the Orthodox Church, on the other hand, they are connected with the composer’s individual creative thinking, which makes them exceed the bounds of the church choir up to the concert sphere. Thus, a phenomenal feature of the sacred-musical works of authorship is their predominant tendency toward either liturgical or concert performance environment. The specifics of the sacred-musical works, in the context of one or another performance environment, are considered in terms of the four aspects: ontological, of the rites of divine service and the concert program realization, communicative, and compositional.

The Musical Language of Bartók's 14 Bagatelles for Piano

Tempo ◽  
1981 ◽  
pp. 8-16 ◽  
Author(s):  
Elliott Antokoletz
Keyword(s):  
Folk Music ◽  
Contemporary Music ◽  
The Other ◽  
Musical Language ◽  
Present Essay ◽  
Points Of View ◽  
Analytical Tools

Bartok's musical language may be approached from two points of view—one, in which the concepts and terminology are derived from folk-music sources, and the other, in which the concepts and analytical tools are derived from certain currents in contemporary music. The present essay is intended to demonstrate, through a study of selected pieces from the 14 Bagatelles for piano, opus 6 (1908), that the assumptions underlying both approaches are essential in understanding the evolution of Bartók's musical language, and that fundamental relationships exist between the diatonic folk modes and various abstract pitch formations commonly found in contemporary compositions.

scholarly journals [The Aesthetics of A Sufist Poet, Ahmad Kamal Abdullah, Known as “Kemala”,] Jamaliah Syair al-Ghazal as-Sufi inda as-Syair Malazia

2018 ◽  
Vol 17 (1) ◽  
pp. 113-151
Author(s):  
Aisyah Ishak ◽  
Rosni Samah
Keyword(s):  
Middle East ◽  
Normal Form ◽  
Analytical Study ◽  
The Other ◽  
Musical Language ◽  
Love Poetry ◽  
Other Hand ◽  
Philosophy Of Love

This article discussed about the aesthetics of a Sufist poet, Ahmad Kamal Abdullah, known as “Kemala”, who is the most famous Modern Malaysian poet. There are a lot of his spiritual and mystical poems collected in several collections or “diwan”. Therefore, this study aims to decipher his mystical poems focused on both of its forms and contents; which studied the form of selected poems consisting of five points: musical, language, intertextuality, symbols and image. On the other hand, it also studied the contents in order to know the ideas that were raised, his emotions, and also its meanings and significance. Finally, the article displayed the results; firstly in terms of its form, the selected poems presented by the poet use several rhymes in one poem, which showed that they are contemporary poems not bonded by a single rhyme, which are the normal form for classical poems. Besides that, the article found that the poet used elements of repetition and question style frequently in his poetry and it is basically related to his emotions and the strength of his feelings. In addition, the poet used the vocabularies and phrases that indicate the meanings of love, besides revealing the element of intertextuality which were affected by Quranic verses, stories of the prophets, the historical incidents, the philosophy of love by Imam al-Ghazali, and also the classical Malay poetry. After that, the study showed that the poet used two types of imageries in his mystical poems; metaphoric and real images, selected by Kemala in order to reveal his feelings of love. Secondly: in term of its contents, it is heavily focused on three important topics; the poetry of love for Allah SWT, the poetry of love for Prophet Muhammad SAW, and the Sufisme love poetry. Last but not least, we can find from this analytical study that Kemala is a Sufist poet revealing his feelings and ideas intellectually and creatively, as well as a Ghazal poet due to selected texts that qualified the Ghazal Poem which is well known in Middle East. Keywords: Mystical Ghazal- Aesthetics- Love- Kemala   تتناول هذه المقالة عن جماليات شعر الغزل الصوفي عند  أحمد كمال عبدالله (Ahmad Kamal Abdullah) المعروف بـ "كمالا" (Kemala)، وهو من أشهر الشعراء الماليزيين في العصر الحديث. واشتهر بقصائده الروحية والصوفية التي جمعت في دواوين عدة بعناوين خاصة. ويعبر في قصائده عما في قلبه من القضايا أو الظواهر من الحوادث والقصص التي حدثت حوله محليا أو عالميا. ولذلك، تهدف هذه المقالة إلى دراسة النصوص الصوفية له شكلا ومضمونا، فمن حيث الشكل تدرس المستوى الموسيقي، والمستوى اللغوي، والتناص، والرمز، والصورة. وأما دراسة مضامين النصوص فهي تركز على  تجلية جماليتها، ومعرفة أفكار الشاعر المطروحة فيها، وعواطفه، وأيضا دلالة تلك الأفكار. وتوصلت المقالة إلى عدة نتائج؛ وأهمها؛ أن النصوص من ظواهرها الشكلية تكونت من القوافي غير الموحدة المعروفة في شعر الحر، مع إيجاد ظاهرة التكرار فيها مؤديا إلى معانيها الخاصة مرتبطة بالواقع النفسي عند الشاعر، وكثرة استخدام أساليبب الاستفهام، واستخدام المفردات والعبارات التي تدل على الحب والشوق والعشق، ومع وجود ظاهرة التناص من قصص الأنبياء والحوادث التاريخية وفلسفة الحب والشوق عند الإمام الغزالي، وبجانب الاستفادة من معاني الآية القرأنية والتراث الشعري القديم. كما استخدم الشاعر صورا تشبيهية وفنية في نقل أفكاره إلى المتلقي بطريقة فعالة تثير القلب واستخدام رموز متعددة. وأن نصوص الغزل الصوفي عند كمالا قد تحدثت عن ثلاثة موضوعات وهي شعر الحب الإلهي، والحب النبوي، والسكر الصوفي. والخلاصة، يعد كمالا شاعرا صوفيا مبدعا مثقفا، وكذلك شاعر الغزل الذي يقدم حبه الخالص للمحبوب والعشق به بكل قدسية،  وبطريقة فعالة بالأساليب الجذابة.   الكلمات المفتاحية: الغزل الصوفي – جماليات – الحب – العشق – كمالا

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