Review of piano music by composers of the Republic of Mordovia: to a problem of periodization

In the article, the author analyzes some piano pieces written by the composers of the Republic of Moldova from the standpoint of determining how genre peculiarities and musical language elements of Moldavian folk songs and folk dances are reflected in them. In this light, an analysis of miniatures by Gh.Neaga, A.Starcea, C.Rusnac, and other Moldavian composers, which are a part of pedagogical repertoire in the country’s musical education institutions, is performed. The purpose of this article is to elucidate various forms of manifestation of national groundedness in the creations of Moldavian composers, the ways in which these forms evolved, and to characterize the evolution of the composers’ attitude towards the folk base of musical material. An examination of folk elements in the musical language of autochthonous piano pieces allows one to elucidate the national specificities of piano music by the composers of the Republic of Moldova, its originality and artistic uniqueness. The author shows conclusively that a familiarity with folk primary sources and a skillful modeling of their elements assists in creating a correct treatment of the piece performed. Key words: Moldavian composers, piano music, cantilena character, virtuoso character, Moldavian folk music genres, folk modes

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ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ

Педагогічні науки теорія історія інноваційні технології ◽

10.24139/2312-5993/2020.05-06/281-292 ◽

2020 ◽

pp. 281-292

Author(s):

Инна Хатипова ◽

Keyword(s):

20Th Century ◽

Teaching Practice ◽

Fine Arts ◽

Piano Music ◽

The Other ◽

Original Music ◽

Musical Language ◽

Republic Of Moldova ◽

The Republic ◽

First Time

In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

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Time and Latitude in South Africa

International Astronomical Union Colloquium ◽

10.1017/s0252921100026816 ◽

1972 ◽

Vol 1 ◽

pp. 27-38

Author(s):

J. Hers

Keyword(s):

South Africa ◽

Cape Town ◽

Astronomical Observations ◽

Royal Observatory ◽

The Republic ◽

Astronomical Determination ◽

Limited Accuracy ◽

Better Than

In South Africa the modern outlook towards time may be said to have started in 1948. Both the two major observatories, The Royal Observatory in Cape Town and the Union Observatory (now known as the Republic Observatory) in Johannesburg had, of course, been involved in the astronomical determination of time almost from their inception, and the Johannesburg Observatory has been responsible for the official time of South Africa since 1908. However the pendulum clocks then in use could not be relied on to provide an accuracy better than about 1/10 second, which was of the same order as that of the astronomical observations. It is doubtful if much use was made of even this limited accuracy outside the two observatories, and although there may – occasionally have been a demand for more accurate time, it was certainly not voiced.

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