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View credits, reviews, tracks and shop for the Vinyl release of Istoria Muzicii Universale În Exemple – Discul Nr. 4 (Începuturile Operei În Genurile Muzicii. Istoria muzicii universale: clasicismul: Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven. Front Cover. Liviu Brumariu. Editura Fundatiei. O istorie a muzicii universale: De la Orfeu la Bach. 1. Front Cover. Ioana Ștefănescu. Editura Fundaţiei Culturale Române, – Music – pages.

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Notație muzicală – Wikipedia

Music is traditionally iistoria as a temporal art. At the same time, a musical work supposes organisation, unity, continuity. These are attributes of spatiality. By consequence, we are talking in music about a special kind of space — not surfaces or volumes, but a metaphorical one, which we call here the virtual musical space.

O istorie a muzicii universale: De la Orfeu la Bach. 1 – Ioana Ștefănescu – Google Books

It is important not only to admit its presence among the musical language elements, but especially to comprehend its structure, and its influence in the modern forms of art. The sight of music. Seeing sound, hearing images pdf. Both art and science do create rules, concepts, theories, but the first umiversale an aim to infringe them, while the second cannot exist without them.

There are no strict limits between arts — actually universsle are joint areas, wherein the perceptions are mingling and more than one feeling consequently appears. The effect is intense, pleasant, sometimes unbearably stunning.


Notație muzicală

Music has a large, consistent and historical joint area with visual sphere, producing among other results, the syncretic art. An interesting investigation field is the existence and especially the importance of sight in music istogia two aspects: Comparing universaoe performances at aria Una furtiva lagrima Donizetti it is obvious that gestures, mimics, and costume — all visual details are influencing the shaping of character. Vocal Lied is another example where the visual part may increase the poetic meaning.

Dynamics tint and vocal colour, mimics and discrete gestures — all these represent plastic exposures of music meanings.

However, music has also a non-visual zone — or in kstoria at least the visual features are less important: On the contrary, further experiments appeared nowadays, in which the visual image almost replaces the sound. Does pure music need the visual support?

In music there are several terms permanently used, whose meaning changed in time, depending on the historical moment or cultural space; among them, consonance and dissonance, diatonic, chromatic, and enharmonic. Tonality appeared during baroque era and was finalized by J. After that, it grew up in the music of Haydn, Mozart, Beethoven, Chopin, Liszt — for about years.

At the end of 19 th century, Wagner created the expanded tonality — the last step of the tonal system evolution.

Stagiunea de colecție: o incursiune în istoria muzicii române?ti ţi universale (partea a III-a).

This tonal type represents an original, ingenious synthesis between all historical phases of the system evolution; meantime it contains the germ of polytonality and atonality. In other words, Bach and Wagner marked the beginning and end of the tonality. This text represents an abridgement of an extensive research paper, recently completed, and titled The Song-Symbol, History and Content. About the National Anthems.


It has not been long since I wrote about a sensitive subject: Following the course of history, a dilemma arose regarding the national anthem, particularly regarding its origins, the circumstances mizicii which a particular anthem was chosen, and above all, comparisons of one anthem to another.

From a general point of view, the first observation is that the anthem, especially as it is perceived nowadays in Europe, involves historical meaning, symbols of human communities and nations. As a result, I want to suggest certain improvements towards the current configuration of universape musical genre. The main reason I chose this issue does not concern purely academic curiosity; it pursues my entirely subjective interest in the circumstances univwrsale prompted Romanians to adopt, over the last century and a half, just these hymns and not others.