Observații asupra elementelor de limbaj muzical în lucrarea La casa di peste drum de Tudor Jarda

2020 ◽  
Vol 35 (1) ◽  
pp. 39-48
Author(s):  
Anamaria Lupu ◽  
Keyword(s):  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Musica Poetica

De cele mai multe ori, când vorbim despre retorică muzicală, despre figuri retorice sau elemente care țin de musica poetica, gândul ni se duce spre Baroc și, de ce nu, spre muzica lui Johann Sebastian Bach. Însă puțini dintre noi realizăm că augurii acestor noțiuni au pornit încă din Renaștere și un număr mult mai mic dintre noi vom conecta toate acestea de numele lui Martin Luther și Reforma protestantă. Principiile retoricii muzicale s-au dezvoltat cu precădere în spațiul nord-german, deși au fost prezente și în alte țări ca Italia, Franța și Anglia. Germania a fost, însă, cea care a adoptat și adaptat în modul cel mai entuziast în această perioadă terminologia, metodele și structurile retoricii antice. Muzicologul german Dietrich Bartel explică în Musica poetica motivul ascensiunii retoricii muzicale în Germania, prin îmbrățișarea viziunii lui Martin Luther asupra muzicii de către credincioșii creștini. Pe parcursul secolelor XVI-XVIII, retorica muzicală se îmbogățește și se perfecționează continuu, generând o artă extrem de elaborată, al cărei focus era găsirea de echivalențe între figurile retorice și intervalica muzicală. În acest mod, muzica a primit un plus de exactitate în ceea ce privește exprimarea.

Influența viziunii lui Luther asupra muzicii în apariția conceptelor de musica poetica și retorică muzicală

2020 ◽  
Vol 35 (1) ◽  
pp. 33-38
Author(s):  
Ildiko Kalό ◽  
Keyword(s):  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Musica Poetica

De cele mai multe ori, când vorbim despre retorică muzicală, despre figuri retorice sau elemente care țin de musica poetica, gândul ni se duce spre Baroc și, de ce nu, spre muzica lui Johann Sebastian Bach. Însă puțini dintre noi realizăm că augurii acestor noțiuni au pornit încă din Renaștere și un număr mult mai mic dintre noi vom conecta toate acestea de numele lui Martin Luther și Reforma protestantă. Principiile retoricii muzicale s-au dezvoltat cu precădere în spațiul nord-german, deși au fost prezente și în alte țări ca Italia, Franța și Anglia. Germania a fost, însă, cea care a adoptat și adaptat în modul cel mai entuziast în această perioadă terminologia, metodele și structurile retoricii antice. Muzicologul german Dietrich Bartel explică în Musica poetica motivul ascensiunii retoricii muzicale în Germania, prin îmbrățișarea viziunii lui Martin Luther asupra muzicii de către credincioșii creștini. Pe parcursul secolelor XVI-XVIII, retorica muzicală se îmbogățește și se perfecționează continuu, generând o artă extrem de elaborată, al cărei focus era găsirea de echivalențe între figurile retorice și intervalica muzicală. În acest mod, muzica a primit un plus de exactitate în ceea ce privește exprimarea.

scholarly journals Considerations on the Elements of Musical Language in ‘La casa di peste drum’ [At the House across the Road] by Tudor Jarda

2020 ◽  
Vol 35 (1) ◽  
pp. 35-40
Author(s):  
Ildiko Kalό ◽  
Keyword(s):  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Protestant Reformation ◽  
Ancient Rhetoric ◽  
The Road ◽  
The North ◽  
Rhetorical Figures ◽  
Trace Back ◽  
Musical Rhetoric ◽  
Musica Poetica

When we speak about musical rhetoric, rhetorical figures, or elements related to musica poetica, we almost always automatically think about the Baroque and, why not, about Johann Sebastian Bach`s music. However, few of us realize that the roots of these notions trace back to the Renaissance, and even fewer will relate them to Martin Luther`s name and the Protestant Reformation. The principles of musical rhetoric developed mainly in the North German space, although they were also present in other countries such as Italy, France and England. It was Germany, however, that in those times most enthusiastically adopted and adapted the terminology, methods and structures of ancient rhetoric. In his Musica Poetica, the German musicologist Dietrich Bartel explains the rise of musical rhetoric in Germany as a consequence of Martin Luther`s view of music being embraced by the Christian believers. Over the sixteenth to eighteenth centuries, musical rhetoric was continuously enriched and perfected, generating an extremely elaborate art whose focus was to find equivalences between rhetorical figures and musical intervals. Thus, music acquired a higher degree of accuracy of expression.

Christ lag in Todesbanden. Egy korál útja a középkortól Luther Mártonon át Johann Sebastian Bachig

2021 ◽  
Vol 66 (1) ◽  
pp. 163-188
Author(s):  
Krisztián Kovács
Keyword(s):  
Middle Ages ◽  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Gregorian Chant ◽  
Focal Points ◽  
Ars Poetica ◽  
The Middle Ages

"Christ lag in Todesbanden (Christ Lay in the Bonds of Death). A Chorale’s Journey from the Middle Ages through Martin Luther to Johann Sebastian Bach. One of the focal points of Martin Luther’s work as a reformer can still be discovered in his compositions. He wrote several lyrics in which he formulated essential dogmatic insights. These include the Easter song Christ lag in Todesbanden [Christ Lay in the Bonds of Death] based on the mediaeval Gregorian chant Victimae paschali laudes and its later version Christ ist erstanden, in which not only the joy over Easter and the resurrection of Christ can be found, but it also gives a picture of the reformer’s theological insights into the death of death and sin. After nearly two hundred years, Johann Sebastian Bach processes all seven verses of Luther’s song in his cantata of the same title (BWV 4), shortly after the death of his first wife. The Lutheran hymn of the resurrection will thus become a personal creed, an ars poetica, but at the same time we can find an exciting musical representation of Luther’s theological view of death in Bach’s composition. Keywords: Martin Luther, Johann Sebastian Bach, Protestant choir, death, resurrection "

scholarly journals Songwriting and Chorale by Martin Luther

2019 ◽  
Vol 17 (1) ◽  
pp. 22-31
Author(s):  
Karol Medňanský
Keyword(s):  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Next Generation ◽  
Good Opportunity ◽  
Musical Activity ◽  
Vocal Works ◽  
Ein Feste Burg

Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.

scholarly journals 1. Period Influence on the Work of Johann Sebastian Bach

2020 ◽  
Vol 19 (1) ◽  
pp. 1-9
Author(s):  
Karol Medňanský
Keyword(s):  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Musical Tradition ◽  
Spiritual World ◽  
Family Tradition ◽  
History Of ◽  
Educational Principle

AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.

scholarly journals A Mimesis Musical

2016 ◽  
Vol 39 (spe) ◽  
pp. 93-110
Author(s):  
Katia Kato ◽  
Keyword(s):  
Johann Sebastian Bach ◽  
Musica Poetica

RESUMO: A música ocupa um lugar de destaque como um dos principais meios de imitação. A utilização da música como ferramenta para suscitar e representar afetos, preconizada desde os antigos, chega integralmente ao século XVIII, podendo ser observada claramente nas obras dos compositores alemães ligados à doutrina composicional da Musica Poetica3 e, sobretudo, na obra de Johann Sebastian Bach. Porém, diversas são as espécies de imitação musical, de forma que o intuito deste trabalho foi categorizar e definir a função das espécies imitativas, com base na concepção aristotélica de imitação e nas categorias de imitação propostas por Johann Mattheson, um dos principais teóricos da Musica Poetica, tentando demonstrar que, desde a concepção musical da antiguidade, música e poética são inseparáveis.

Undoing GDR Iconoclasm: The Return and Interpretation of a Spiritual and Academic Heritage through the Building of the Paulinum in Leipzig

2019 ◽  
Vol 88 (4) ◽  
pp. 1013-1038
Author(s):  
Kim Groop
Keyword(s):  
Saint Paul ◽  
Martin Luther ◽  
Johann Sebastian Bach ◽  
Active Participation ◽  
Church History ◽  
Felix Mendelssohn ◽  
University City ◽  
The University ◽  
The Church ◽  
Socialist Unity

On the first Sunday of Advent in 2017, a new university church was consecrated at Leipzig University in Germany. This celebration brought to an end the five-decade-long absence of a church within the old university. The inauguration of the Paulinum—as the combined church and assembly hall was named—visibly reconnected the university with a church history involving the active participation of personalities such as Martin Luther, Johann Tetzel, Felix Mendelssohn, and Johann Sebastian Bach. Under scrutiny in this article is the 1968 destruction of the University Church of Saint Paul, originally a medieval monastery, by the Socialist Unity Party (SED) as a kind of socialist iconoclasm. Through the destruction of the University Church of Saint Paul, I argue, the church became something of an architectonic and cultural martyr. Although the Paulinum is not viewed as a direct continuation of the university church, its completion and refurbishing with art treasures from the old church has, however, come to be viewed as a counterpart to SED barbarism and as an undoing of some aspects of the destruction. Moreover, some episodes from the university church and its destruction have been passed on and attached to the Paulinum as a mnemonic layer, much valued by the university, city, and region.

Klassen füllen um jeden Preis?

PADUA ◽  
2016 ◽  
Vol 11 (2) ◽  
pp. 125-130 ◽  
Author(s):  
Stefanie Andreas ◽  
Madlen Baumgarten ◽  
Claudia Ringelhan ◽  
Gertrud Ayerle
Keyword(s):  
Martin Luther

Zusammenfassung. Im Rahmen eines studentischen Forschungsprojektes an der Martin-Luther-Universität Halle/Wittenberg stellen sich die Autorinnen die Frage, wie sich die Bewerberauswahl an Pflegeschulen vor dem Hintergrund des Mangels geeigneter Bewerber/innen gestaltet und welche Auswirkungen dies auf die Ausbildung hat. Die Ergebnisse der Experteninterviews zeigten, dass die Bewerberlage für die Ausbildung der Gesundheits- und Krankenpfleger/innen vor allem in qualitativer Hinsicht ernst erscheint.

Die Einstellung von Auszubildenden der Gesundheits- und Krankenpflege sowie der Gesundheits- und Kinderkrankenpflege zum interprofessionellen Lernen

PADUA ◽  
2017 ◽  
Vol 12 (5) ◽  
pp. 347-353
Author(s):  
Doreen Krug
Keyword(s):  
Martin Luther ◽  
Interprofessionelle Kooperation

Zusammenfassung. Interprofessionelle Kooperation ist ein wesentlicher Baustein der künftigen professionellen Versorgung von Pflegebedürftigen und Patienten. In der beruflichen Praxis zeigt sich, dass die Gesundheitsberufe wenig voneinander wissen. Anhand der Entwicklung eines Konzeptes der Medizinischen Fakultät der Martin-Luther-Universität Halle / Saale zur Schaffung und Umsetzung interprofessioneller Ausbildungssequenzen soll der Frage nach der Bereitschaft zum interprofessionellen Lernen in den einzelnen Gesundheitsfachberufen nachgegangen werden.

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