Sonata for Violin and Piano by Vladimir Martynov

10.34690/18 ◽  
2019 ◽  
pp. 6-21
Author(s):  
М.И. Катунян
Keyword(s):  
20Th Century ◽  
14Th Century ◽  
Violin Sonata ◽  
Violin And Piano

Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Рославца. И при этом остается строжайшей додекафонией: «В ней ни одной свободной ноты». В работе с серийной техникой сформировались особенности композиторского облика Мартынова, сложилась его творческая позиция, отразился круг музыкальных приоритетов, познаний, интеллектуальных и гуманитарных интересов. The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machauts hoquet, its minimalism, I mean that something happens there and nothing happens at the same time. It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: There is not a single free note in it. On the serial technique, the features of Martynovs composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.

Violin Sonata No. 2 (Violin and Piano)

Notes ◽  
1969 ◽  
Vol 26 (2) ◽  
pp. 356
Author(s):  
Thomas Warburton ◽  
Samuel Adler
Keyword(s):  
Violin Sonata ◽  
Violin And Piano

scholarly journals PERANG BUBAT, REPRESENTASI SEJARAH ABAD 14 DAN RESEPSI SASTRANYA

2018 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Yeni Mulyani Supriatin
Keyword(s):  
Data Collection ◽  
20Th Century ◽  
18Th Century ◽  
The Other ◽  
16Th Century ◽  
Historical Aspect ◽  
14Th Century ◽  
Literary Structure ◽  
The Will ◽  
The Difference

Penelitian ini bertujuan mengungkap peristiwa Perang Bubat yang terjadi pada abad ke-14 atau tahun 1357 M dan resepsi sastranya. Masalah yang dibahas adalah bagaimana latar belakang terjadinya Perang Bubat, reaksi, dan tanggapannya. Teori yang digunakan adalah resepsi sastra. Metode untuk pengumpulan data adalah kualitatif dengan menerapkan prinsip resepsi sastra. Hasil penelitian menggambarkan bahwa terjadinya Perang Bubat adalah Raja Sunda tidak tunduk pada kehendak Gajah Mada dan Gajah Mada ingin menyatukan Nusantara. Resepsi sastra terhadap Perang Bubat dapat dikelompokkan menjadi 3, yaitu resepsi dari aspek kesejarahannya, resepsi pengaruhnya terhadap penciptaan karya baru, dan resepsi terhadap struktur sastra.  Simpulan penelitian ini adalah peristiwa Bubat diresepsi setelah dua abad berlalu, yaitu pada abad ke-16  dan peristiwa tersebut diresepsi ulang pada abad ke-20-an. Hasil resepsi sastra  dari abad ke-18 sampai dengan abad ke-20 cukup beragam. Keberagaman resepsi itu menunjukkan bahwa terdapat perbedaan horizon harapan pembaca.  This study aims to reveal the events of the Bubat War that occurred in the 14th century or the year 1357 AD and literary receptions that emerged after the incident occurred. The issue discussed is how the background of the Bubat War and the reactions and responses to the event through literary receptions. The theory used in analyzing data is literary receptions. The method used for data collection is qualitative by applying the principle of literary receptions. The results of this study illustrate that the background of the Bubat War have two versions and both controversial, the first version because the King of Sunda entourage do not obey to the will of Gajah Mada, on the other hand, the second version is that Gajah Mada tactics in unifying the archipelago while the Kingdom of Sunda is a state that has not been submitted. Literary receptions to the War of Bubat can be grouped into three, they are the reception of its historical aspect, the reception of its influence on the creation of new works, and the reception of the literary structure. The conclusion of this research is  Bubat event was perceived after two centuries passed, in the 16th century and the event was redrawn in the 20th century. Results of literary receptions in the 18th century until the 20th century quite diverse. The diversity of the receptions shows the difference in the horizon of readers' expectations.    

scholarly journals POLA SINTAKTIS LAKON JAKA SUKARA

2017 ◽  
Vol 4 (1) ◽  
pp. 15
Author(s):  
Sri Munawarah
Keyword(s):  
20Th Century ◽  
14Th Century ◽  
Development Period ◽  
Construction Property ◽  
Syntactic Pattern ◽  
Language Writing ◽  
History Of ◽  
Data Source ◽  
Characteristic Features

The history of Malay language has been going through a long way. Kridalaksana (1991:5) divided the development period of Malay language into four: the Melayu Kuna era (the 7th-14th century CE), the Melayu Klasik/Tengahan era (the 14th-18th), the Melayu Peralihan era (the 19th), and the Melayu Baru era (the 20th century). The Betawi language is the only Malay language that existed in Java Island. Dullaurier, as quoted by Hollander (1983;1984), said that the Malay language is divided into two groups: Malay language Malaka accent and Betawi accent (Muhadjir, 1999:21). In this research, the script of Lakon Jaka Sukara became the data source to find the characteristic features of Malay Betawi language syntax that is written in the script. Lakon Jaka Sukara is one of the scripts assumed to have been written by the Betawi people. In this case, the script of Lakon Jaka Sukara will be analyzed in its syntactic pattern. The research of the Betawi language writing variety, especially the ancient script has rarely been done. That case became important for this research to be conducted. After seeing the whole script, there is syntactic patterns that became the characteristic features of the writing variety of the Betawi language. That syntactic pattern is that there is construction property or possessive phrase, collocation [kasi], [beri], or [kerja] that is followed by verbs, construction [apa] that is followed by nouns, construction [barang] that is followed by [di mana], construction [pun] that is in front of male pronouns, and construction [pun] that is on the back of female pronouns.

3. Between myth and history

2020 ◽  
pp. 36-50
Author(s):  
Philip V. Bohlman
Keyword(s):  
20Th Century ◽  
Life Stories ◽  
14Th Century ◽  
Ibn Khaldun ◽  
The Mediterranean ◽  
Arab Music

‘Between myth and history’ begins with the 1932 Cairo Congress in Arab Music. The Arab contingent sought advice on progress, while the European delegates romanticized traditional Arab music. These contradictions, and Islam’s relationship with music, shaped the life-stories of three figures: 14th-century polymath Ibn Khaldūn; 20th-century Egyptian singer Umm Kulthūm; and ethnomusicologist Robert Lachmann, who found musical echoes of Muslim and Jewish pilgrims in Djerba, where he had been expecting to find local music fixed in time by isolation. The Mediterranean has inspired written and sung epics, which were translated into architecture and politics, taking them from myth into history.

Art in Renaissance Florence

2013 ◽  
Author(s):  
Sarah Blake McHam ◽  
Stephen Mack
Keyword(s):  
20Th Century ◽  
Considerable Degree ◽  
16Th Century ◽  
14Th Century ◽  
Works Of Art ◽  
The Family ◽  
Renaissance Florence ◽  
Art And Architecture ◽  
The City ◽  
Lives Of The Artists

Florence was a crucial locus for developments in Italian art throughout the peninsula in the period between 1300 and 1600, and so this article will concern itself with art created in the city rather than by Florentine artists working outside of Florence. To a considerable degree, the pervasive influence of Giorgio Vasari’s Lives of the Artists (1550, 1568) affected all later historiography, which followed the patriotic Florentine in his claims that everything of importance throughout the Renaissance originated in the city and spread from there elsewhere. That myth was challenged only in the latter part of the 20th century. Nevertheless, no matter how Vasari exaggerated Florence’s importance, the city was a major center. It was wealthy particularly from the wool trade and through dominance in banking throughout Europe, and the city’s humanists early advised private and corporate patrons about the advantages to their reputations and to that of the city of commissioning art and architecture. Although in the 14th century, Florence was governed as a guild republic, and the major guilds commissioned most of the major works of art, by 1434, Cosimo de’ Medici rose to power, and thereafter except for brief intervals (1494–1512; 1527–1530), the Medici family controlled the city. In the mid-16th century, the family consolidated its power and ruled over all of Tuscany as grand dukes, and changed the nature of commissions to those flattering its rule.

Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music

2019 ◽  
Vol 1 (11) ◽  
pp. 87-108
Author(s):  
Tomasz Król
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Physical Sense ◽  
20Th Century Music ◽  
Violin And Piano ◽  
Acoustic Phenomenon ◽  
Emotions In Music

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.

scholarly journals Violin sonata fis-moll by Paul Natorp in the context of genre development

2021 ◽  
pp. 189-194
Author(s):  
Шаоин Го
Keyword(s):  
Russian Language ◽  
Practical Significance ◽  
Musical Language ◽  
Musical Identity ◽  
Violin Sonata ◽  
German School ◽  
History Of ◽  
Points Of View ◽  
Violin And Piano ◽  
Active Formation

Исследуется творчество композитора-философа Пауля Наторпа, фигура которого в русскоязычном музыкознании практически не представлена. Отдавая себе отчет в том, что его творчество может вызывать интерес с самых разных точек зрения, мы фокусируем свой научный интерес на Сонате fis-moll для скрипки и фортепиано, созданной в период активного формирования новых художественных течений в музыке начала ХХ века. На примере произведений так называемого «второго ряда» Соната fis-moll может служить довольно ярким примером процессов обновления музыкального языка, в том числе на основе переосмысления классического наследия. Музыковедческий анализ Сонаты для скрипки и фортепиано fis-moll осуществляется в опоре на историко-стилевой метод и интертекстуальность. Доказано, что, будучи созданной в русле традиций Бетховена, Шумана и Брамса, Соната fis-moll для скрипки и фортепиано отмечена самобытностью и оригинальностью. Теоретическая значимость работы определяется заполнением лакуны в истории становления жанра скрипичной сонаты в немецкой композиторской школе. Практическая значимость связана с возможностью обогатить скрипичный репертуар за счет знакомства с камерным жанром, представленным в творчестве немецкого музыканта-философа. This work is dedicated to the work of the composer-philosopher Paul Natorp, whose figure is in practice not represented in Russian-language musicology. Realizing that P. Natorp's work can arouse interest from a variety of points of view, we focus our scientific interest on the fis-moll Sonata for violin and piano, created during the active formation of new artistic trends in music at the beginning of the twentieth century. Using the works of the so-called “ second row” as an example, the fis-moll Sonata can serve as a vivid example of the processes of updating the musical language, including on the basis of rethinking the classical heritage. The musicological analysis of the fis-moll Sonata for violin and piano is based on the historical-stylistic method and intertextuality. It is proved that, being created in line with the traditions of Beethoven, Schumann and Brahms, the fis-moll Sonata for violin and piano by P. Natorp is noted for its musical identity and originality. The theoretical significance of the work lies in filling a gap in the history of the formation of the violin sonata genre in the German school of composition. Practical significance is associated with the opportunity to enrich the violin repertoire through acquaintance with the chamber genre presented in the works of the German musician-philosopher.

Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke

Tempo ◽  
2002 ◽  
pp. 2-10
Author(s):  
Dmitri Smirnov
Keyword(s):  
Soviet Union ◽  
String Quartet ◽  
Final Part ◽  
Avant Garde ◽  
Violin Sonata ◽  
Edison Denisov ◽  
Alfred Schnittke ◽  
Violin And Piano ◽  
First Time

The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that remained of a whole festival, which had been cancelled at the last moment by the authorities. The concert was split into three parts, the first two of them dedicated to the music of the Soviet avant-garde, with compositions by the likes of Edison Denisov, Tigran Mansurian, Valentin Silvestrov, Viktor Ekimovsky and Kuldar Sink etc. At the end of the second part there was a perfonnance of Schnittke's Serenade for five musicians. This very cheerful and fanny piece, entangled with hundreds of short quotations, sounded very different from the rest of the program. The final part of the concert contained works of Schoenberg, Berg and Webern, played for the first time in Brezhnev's Soviet Union.

The Malayonesian Cosmological Doctrines in Some Past Scientific Writings in Malay

2020 ◽  
Vol 2 (1) ◽  
pp. 30-49
Author(s):  
Shaharir Bin Mohd Zain
Keyword(s):  
20Th Century ◽  
Substantial Portion ◽  
13Th Century ◽  
14Th Century ◽  
The People ◽  
The World

The Malayonesian cosmological doctrines highlighted here are based on the study of the five Malay inscriptions dated 5th century to 14th century A.D, a traditional Malay folklore on cosmology compiled by Abdullah (1984), and  a well known best seller Malay manuscript entitled Taj al-Muluk edited by Syaikh Ismail al-Asyi (1893). We find that the Malayonesian cosmology changes as the people change their religion successively from Hindu to Buddha and to Islam as such that their cosmology became a syncretism of Hindu-Buddha cosmology and Islamic cosmology (after 13th century A.D). But in the second part of the 20th century, the Muslims  through out the world began to rediscover their cosmology in relation to a much more pure Islamic cosmology. As a result, a substantial portion of Malayonesians become dualistic or syncretic in their cosmology.  Then toward the end of the 20th century came a very powerfull Western cosmology  invaded the Muslims thought through economics and malitarism  as such that their belief in Islamic cosmology has to accommodate the Western cosmology as well and hence the syncretic Hindu-Buddha-Islamic cosmology  became less prominent. A new relativistic dualism, namely a parallel recognition in both the Islamic and the Western cosmologies appeared in Malayonesian cosmology.

民間傳說與木版版畫：觀音女性化形象在越南

2021 ◽  
Vol 37 (37) ◽  
pp. 046-073
Author(s):  
阮蘇蘭 阮蘇蘭
Keyword(s):  
20Th Century ◽  
Driving Forces ◽  
Religious Life ◽  
16Th Century ◽  
14Th Century ◽  
Profound Impact ◽  
Woodblock Prints ◽  
Vietnamese Literature

<p>妙善觀音傳說不僅在中國，也在越南的觀音崇拜信仰都形成女性形象的基礎。儘管佛教或崇拜觀音的信仰在十世紀之前已在越南傳播，但直到十四世紀初，這個傳說的出現才在越南得到證實。從十六世紀末到十九世紀末二十世紀初，小說、寶卷、真經等不同類型的妙善觀音傳本被越南文學接受，並翻譯成六八體喃字詩傳。這些喃字傳故事對大眾的文化和宗教生活產生深遠的影響。本論文基於漢喃資料重現妙善觀音傳說傳播的歷史過程，以分析它們對民間雕刻木版畫的影響。其中，各種妙善觀音傳說喃譯版本的民間藝術創作資料，以圖畫的方式呈現，使得版畫成為喃傳觀音故事向公眾傳播喃字故事的渠道。書籍與版畫不僅使崇拜觀音成為越南主流信仰的動力之一，也顯示本土化的女性觀音特徵。 </p> <p>&nbsp;</p><p>The legend of Miaoshan-Guanyin constitutes the foundation of beliefs in the female form of Guanyin not only in China, but also in Vietnam. Although Buddhism and Guanyin beliefs in particular had spread in Vietnam before the 10th century, the appearance of this legend can be confirmed only at the beginning of the 14th century. From the end of the 16th century to the end of the 19th -- beginning of the 20th century, different versions of Miaoshan-Guanyin legend, such as novels (xiaoshuo), precious scrolls (baojuan), and true scriptures (zhenjing), were adapted in Vietnamese literature and translated into six-eight verse narratives. These N&ocirc;m versions have a profound impact on the cultural and religious life of the folk. This article presents the spread of the legend of Miaoshan-Guanyin in Vietnam to analyze its N&ocirc;m adaptions&rsquo;s influence on the folk woodblock prints. The N&ocirc;m versions of the Miaoshan-Guanyin legend which are represented in folk woodblock prints become a channel for transmission of the story of Guanyin to the commoners. Sino-N&ocirc;m manuscripts and woodblock prints not only propagate the worship of Guanyin one of the main driving forces of Vietnam’s mainstream beliefs, but also express characteristics of the localized female form of Guanyin. </p> <p>&nbsp;</p>

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