The Influence of Luther's View of Music on the Emergence of the Concepts of Musica poetica and Musical Rhetoric

La casa di peste drum [At the House across the Road] is, perhaps, Tudor Jarda`s most emblematic choral work, being the first composition of the 10 carols for mixed choir included in the volume Coruri [Choral Works] (1981). Dedicated to Maestro Dorin Pop and the Cappella Transylvanica choir, this work has been part of the ensemble`s repertoire since the publication of the collection, being also found in the repertoire of the most important Cluj and Transylvanian choirs. This paper aims to detail aspects of musical grammar in the choral work La casa di peste drum, highlighting the close connection between the text and music and its implications in the choral interpretation. The morphological and syntactic analysis also highlights certain characteristics of Tudor Jarda`s choral writing.

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

Musicology Papers ◽

10.47809/mp.2020.35.01.02 ◽

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.

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Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music

Artes Journal of Musicology ◽

10.2478/ajm-2020-0010 ◽

2020 ◽

Vol 21 (1) ◽

pp. 169-192

Author(s):

Ruxandra Mirea

Keyword(s):

Chamber Music ◽

Sacred Music ◽

Psychological Profile ◽

Human Beings ◽

Choral Works ◽

Psychological Differences ◽

Mixed Choir ◽

Musical Genres ◽

Sacred Songs ◽

The Universe

AbstractFor centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While her works are frequently performed in recitals and concerts, Carmen Petra-Basacopol is one of the most appreciated Romanian musicians also due to personality traits, which are undoubtedly reflected in her creation. The universe of sacred music has been a favourite field in her works and includes all musical genres, from chamber music to concerts. In this study I have planned to analyse musicologically three choral works with sacred orientation from the perspective of a psychological profile of the composer: Sacred songs for a capella mixed choir, op. 90; Sacred hymns for male choir, op. 112; Psalm triptych for a capella choir with female voices, op. 116. The proposed working tool for outlining the psychological profile, as well as the correlation of the studied works with the universe of sacred music is represented by the interview.

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The Road to Literary Culture: Revisiting the Jurchen Language Examination System

T oung Pao ◽

10.1163/15685322-10113p04 ◽

2015 ◽

Vol 101 (1-3) ◽

pp. 130-167 ◽

Cited By ~ 1

Author(s):

Xin Wen

Keyword(s):

School System ◽

Literary Culture ◽

Close Connection ◽

Literary Canon ◽

Selection Mechanism ◽

Examination System ◽

The Road ◽

Conventional View ◽

Cultural Ideal ◽

Jin Dynasty

This essay contextualizes the unique institution of the Jurchen language examination system in the creation of a new literary culture in the Jin dynasty (1115–1234). Unlike the civil examinations in Chinese, which rested on a well-established classical canon, the Jurchen language examinations developed in close connection with the establishment of a Jurchen school system and the formation of a literary canon in the Jurchen language and scripts. In addition to being an official selection mechanism, the Jurchen examinations were more importantly part of a literary endeavor toward a cultural ideal. Through complementing transmitted Chinese sources with epigraphic sources in Jurchen, this essay questions the conventional view of this institution as a “Jurchenization” measure, and proposes that what the Jurchen emperors and officials envisioned was a road leading not to Jurchenization, but to a distinctively hybrid literary culture. Cet article replace l’institution unique des examens en langue Jurchen dans le contexte de la création d’une nouvelle culture littéraire sous la dynastie des Jin (1115–1234). Contrairement aux examens civils en chinois, qui s’appuyaient sur un canon classique bien établi, les examens en Jurchen se sont développés en rapport étroit avec la mise en place d’un système d’écoles Jurchen et avec la formation d’un canon littéraire en langue et en écriture Jurchen. En plus de servir à la sélection des fonctionnaires, et de façon plus importante, les examens en Jurchen s’inscrivaient dans une entreprise littéraire visant à la réalisation d’un idéal culturel. Combinant les sources chinoises avec des sources épigraphiques en langue Jurchen, l’auteur met en question l’interprétation conventionnelle des examens en Jurchen comme mesure de “jurchénisation” et suggère que ce que les empereurs et les fonctionnaires Jurchen avaient en vue était une démarche conduisant non à une jurchénisation, mais à une culture littéraire se distinguant par son caractère hybride. 

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Dostoevsky, Siberia, and the Russian Person in Donna Tartt’s Novel The Goldfinch

Quaestio Rossica ◽

10.15826/qr.2020.1.451 ◽

2020 ◽

Vol 8 (1) ◽

Author(s):

Olga Turysheva

Keyword(s):

Literary Tradition ◽

Russian Literature ◽

Considerable Importance ◽

Close Connection ◽

Creative Work ◽

The Novel ◽

Main Character ◽

The Road ◽

Russian Literary ◽

American Author

This article considers the Russian motifs present in the narrative of The Goldfinch (2014), a novel by the American author Donna Tartt. These include the depiction of the main character’s Russian friend, allusions to the creative work of Dostoevsky, the interpretation of his novel The Idiot made by the characters, and a detail testifying to the Siberian descent of the second main character. The author makes an attempt to analyse previously unstudied motifs connecting the story of the character with the Russian context. More particularly, she substantiates the importance of Boris Pavlikovsky’s Siberian roots. The author concludes that Tartt portrays the Russian person not only as a complex of stereotypes found in culture but in close connection with the Russian literary tradition. The article combines immanent analysis of text with hermeneutic, mythopoetical, intermedial, and intertextual methods. The author concludes that by referring to the Siberian descent of the second main character, Tartt introduces the Siberian myth into the receptive context of her novel formed on the basis of the whole corpus of Russian literature. It is a myth of Siberia as a space of liminal death and Christological initiation (acc. to V. I. Tyupa). It is proved that relying on this mythologeme makes it possible for the reader to decode the underlying semantics of the novel. It relates to the idea of the resurrection of the character facing the tragedy of death. The plot of The Goldfinch is interpreted as a plot of returning to life through the experience of staying in the land of the dead, crime, and dying. Additionally, the author analyses the function of motifs connected with Dostoevsky’s novel The Idiot. It is not only present as an allusion in Tartt’s work but as an object of the characters’ reflection. For Theo Decker, this reflection results in the acceptance of Dostoevsky’s idea of the resurrection of a great sinner. It is demonstrated that relying on his perception of Dostoevsky’s works, the character realises the circular plot of accepting life and redemption. This interpretation makes it possible to reconstruct the evangelical subtext of the novel. The novel’s ekphrastic aspect also proves it by means of the character’s reflection on The Goldfinch, a painting by Carel Fabritius. Apart from the liminal chronotope, the author analyses other chronotopes of the character that are also of considerable importance: the Christmas chronotope and the road chronotope. The poetological peculiarities revealed prove that Tartt’s works belong to the genre tradition of Bildungsroman (initiation novel). This is illustrated by other images of Dostoevsky’s works, including the ones Tartt used in her first novel The Secret History (1992).

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Two opera composers

Tempo ◽

10.1017/s0040298200045952 ◽

1969 ◽

pp. 10-19

Author(s):

Imre Fábián

Keyword(s):

Vocal Music ◽

Point Of View ◽

Two Stage ◽

Choral Works ◽

The Road ◽

Crucial Problem ◽

National Opera ◽

Great Merit ◽

The Creation

There is no strong opera tradition in Hungary. The founder of our national opera literature, Liszt's contemporary Ferenc Erkel, clung chiefly to the ‘verbunkos’ style as a characteristic Hungarian element in his attempts to form a national operatic style. He succeeded in fusing this with the style of his Italian models, and this was his great merit as a composer. But he left unsolved the crucial problem: the creation of a melodic style arising out of the characteristic accentuation of Hungarian speech, out of the spirit of the language. From this point of view Bartók was the epoch-making master. Bluebeard's Castle was the historic event in the rise of new Hungarian opera. As Kodály wrote after the première: “Bartók has taken the road to liberating the language, transforming its natural inflexions into music, thereby greatly furthering the emergence of a Hungarian recitative style. This is the first Hungarian operatic work in which the singing is consistent from first to last, free from all jarring prosody”. But Bartók's opera had no successors. The two stage works of Kodály, whose feeling for drama and theatre was not strong, were more in the nature of experiments, and were so intended by their composer. The following generation could hardly have made any progress in the direction indicated by them—though there was much that later opera composers could learn from his other vocal music, the songs and the choral works.

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SOME OBSERVATIONS OF THE CONTEMPORARY MUSICAL AND RHETORIC ANALYTICS

Vestnik Tomskogo gosudarstvennogo universiteta Kul turologiya i iskusstvovedenie ◽

10.17223/22220836/40/12 ◽

2020 ◽

pp. 146-155

Author(s):

Anastasiya А. Maltseva ◽

Keyword(s):

Theoretical Aspect ◽

Building Blocks ◽

Point Of View ◽

Musical Language ◽

Sources Of Information ◽

Stage Of Development ◽

Musical Rhetoric ◽

Musica Poetica ◽

Musical Heritage ◽

Semantic Aspect

When considering the research of the musical rhetoric in the Russian musicology the leading significance of the intonation-semantic aspect should be highlighted, as well as active elaboration of the musical language and its communicative possibilities, but at the same time we should pay attention to fixation of the unidirectional concept of really board and heterogeneous range of Baroque musical and rhetoric figures. The early 1980s – 1990s and 2000s was the period of intensive studies of the musical language elements as meaning-forming building blocks of a work of arts as a total. In the 21st century the vector of the musical and rhetoric analysis has shifted only slightly. During the past 10 years a ‘musical-rhetorical figure’ has been defined through such notions as ‘symbol’, ‘a sound phrase (motive)’, ‘formula’, ‘sign, emblem’, ‘stable, semantically intense element’, ‘image-meaning unit, compositional sound idiom’, ‘leitmotif of affect’, ‘intonation pattern’, ‘intonation-symbol’. Apart from concentrating on the symbolic aspect of musical figures, the research of the 21st cen-tury sometimes substitutes the Baroque conceptual construct of theoretical treatise of the 17th – the first half of the 18th centuries for the ‘contemporary’ ones, which started in the 20th century within the context of J.S. Bach studies (research of A. Schweizer, B.L. Javorsky, M.S. Druskin, J.S. Druskin and other). For some contemporary scholars it was not the theoretical texts of the Baroque period that served as sources of information on musical and rhetoric figures. Instead, A. Schweizer’s works were such a source. However, A. Schweizer knew nothing of the lists of musical and rhetoric figures in the treatise of J.S. Bach’s contemporaries and predecessors. In many cases searches for the newly invented ‘symbolism of the rhetoric figures’, ‘intonation formulas’ and ‘motive-symbols’ become the favorite hermeneutic method involving a scarce number of figures by the Baroque theorists (anabasis, cataba-sis, circulatio and other) filtered by the musical analytics according to the criteria of the intonation semantics and potential symbolism. We also observe insufficient awareness of the musical and theoretical aspect, use of the outdated notions (on the set of all concepts as on a system of musical figures Baroque) and information (on the number of the musical figures given by the theorists). The author draws the conclusion that the ‘broad fame’ of the musical and rhetoric figures is so well-known that it sometimes has little to do with the authentic phenomenon of the musica poetica Baroque. At the current stage of development of the Rus-sian musicology the author sees it necessary to consolidate the approaches to understanding of the musical heritage of this epoch from the point of view of the historical analytics.

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Introduction

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100070266 ◽

1978 ◽

Vol 36 (3) ◽

pp. 543-544

Author(s):

W. Bernard

Keyword(s):

Molecular Weight ◽

Electron Microscope ◽

Nucleic Acid ◽

Gene Mapping ◽

Molecular Genetics ◽

Cell Biology ◽

Gene Activity ◽

Close Connection ◽

Basic Information ◽

Simple Systems

In comparison to many other fields of ultrastructural research in Cell Biology, the successful exploration of genes and gene activity with the electron microscope in higher organisms is a late conquest. Nucleic acid molecules of Prokaryotes could be successfully visualized already since the early sixties, thanks to the Kleinschmidt spreading technique - and much basic information was obtained concerning the shape, length, molecular weight of viral, mitochondrial and chloroplast nucleic acid. Later, additonal methods revealed denaturation profiles, distinction between single and double strandedness and the use of heteroduplexes-led to gene mapping of relatively simple systems carried out in close connection with other methods of molecular genetics.

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Seeking to uncover biology's chemical roots

Emerging Topics in Life Sciences ◽

10.1042/etls20190012 ◽

2019 ◽

Vol 3 (5) ◽

pp. 435-443 ◽

Cited By ~ 3

Author(s):

Addy Pross

Keyword(s):

Environmental Changes ◽

Biological Systems ◽

Significant Development ◽

The Road ◽

Physical Chemical ◽

Systems Chemistry ◽

Biological World ◽

Inanimate Matter ◽

The Origin Of Life ◽

Opening Up

Despite the considerable advances in molecular biology over the past several decades, the nature of the physical–chemical process by which inanimate matter become transformed into simplest life remains elusive. In this review, we describe recent advances in a relatively new area of chemistry, systems chemistry, which attempts to uncover the physical–chemical principles underlying that remarkable transformation. A significant development has been the discovery that within the space of chemical potentiality there exists a largely unexplored kinetic domain which could be termed dynamic kinetic chemistry. Our analysis suggests that all biological systems and associated sub-systems belong to this distinct domain, thereby facilitating the placement of biological systems within a coherent physical/chemical framework. That discovery offers new insights into the origin of life process, as well as opening the door toward the preparation of active materials able to self-heal, adapt to environmental changes, even communicate, mimicking what transpires routinely in the biological world. The road to simplest proto-life appears to be opening up.

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