ISTORIA MUZICII UNIVERSALE PDF

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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Stilul de predare al profesorului V.

Notație muzicală

Astfel, stilul pedagogiei istoriei muzicii al profesorului Axionov este apreciat ca unul care aduce noi dimensiuni profilului disciplinei. Mysterious tremolo triplets and roaring chromatic scales of the Death motive Todesmotiv.

Expressive ascending yell of four tubes falls down by doomed diminished fifths back to the low G. Tremolo in the low strings — growing tension — and the entire orchestra bursts into the appalling c-moll tonic chord repetitions that alternate with rumbling passages.

The fire flares up, and the muzidii of the Gibichungs collapses; Rhein overflows its banks, and the Rhein maidens swim in to claim the Ring. Flames flare up in Walhall, where the gods are consumed in the flames.

The disastrous collapse of civilization, pathos of the Nibelung mythology penetrates hearts and minds, and generations of students leave the classroom persuaded Wagnerians. Although he succeeded to endow importance and relevance to any subject he taught starting from individual composers to general stylistic trends and notionsWagner was the domain where he emanated special academic, pedagogical and personal magnetism.

Vladimir Axionov was an outstanding and charismatic lecture with robust knowledge, overwhelming erudition, eloquence and rhetorical talent. He declaimed his lectures from written conspectus, elaborating this plan with characteristic enunciation and gesticulation.

Axionov used to lecture playing themes and motives on the piano and creating a true counterpoint of musical illustration with verbal communication.

In an age when long play gramophone recordings were the only way to provide musical demonstration to the textual material, such illustrations were especially effective. Thus the astonishing musical beauty and logic of contrapuntal combinations and linear concatenation of the motives in Der Ring des Nibelungen served just a basis for addressing the profound aesthetical and ideological issues.

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They leaned on the premise that Western music has its immanent history, regulated by political and social processes, economic, theological, cultural developments and personal circumstances.

Johann Hermann Schein – Wikipedia

Axionov preached that all these factors were of primary importance in any approach to musical composition; they affected technical characteristics of any style and practice even more than autonomous rules, laws and strategies of musical muzixii did [2]. In addition, the ideological obstacles unable to operate such an important component of historical research as source studies and an authentic morphological analysis. While American and European models of musicology lean on a free access to historical elements of research, this field as it was cultivated in the USSR in the s, was deprived from the so-called work in situ: Notwithstanding these deficiencies, conceivable in given political-ideological circumstances, Vladimir Axionov always emphasized, that in his approach the historical facets are of primary importance.

In those years, the entire doctrine of the Humanities did not embrace foreign languages proficiency, and the erratic pronunciation of foreign words was common.

In Russian-language sources, the unauthentic spelling and — accordingly — enunciation, were generally accepted in official textbooks and academic literature, as well as on professional meetings. It appears that unniversale erratic pronunciation of foreign names has been muzici until nowadays, as could be exemplified by some diphthongs marked in the following excerpts from one of the recent sources on Wagner:.

The moon univeersale through the clouds and lights up the solemn funeral procession more and more brightly as it reaches the height.

Mists have arisen from the Rhine and gradually fill the whole stage where the funeral procession has become invisible: The mists divide again, until at length the hall of the Gibichungs appear.

Johann Hermann Schein

The main track of this dispute was challenging any orthodoxy in applying traditional methods of positivism and formal analysis and redirecting the discipline in favor of criticism and the application of critical theory to the study of music. Coupled with general trends in the humanities, this self-examination led to the challenging of traditional assumptions and the opening of new fields in research by relying upon interdisciplinary perspectives. This important quality should not be taken for granted; the mainstream was a mode of historical analysis in which present-day ideas and cultural artifacts are projected into the past.

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Various historical misconceptions of determinism permeated academic discourse and were encouraged by the official doctrine that championed the progress as an engine of any developments in art and culture [6].

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

Additional illustration of Istogia leitmotive rhetoric as demonstrated by Axionov is an obscure Curse of the Ring Fluch motive that encloses the Trauermarch and underlines the true reason of the tragedy.

The following cycle — that can be interpreted a new episode in the Development -recalls the heroic motives of a sword Nothung Schwert-motiv and Siegfried as a hero-redeemer.

These powerful motives, performed by the full orchestra, form a climax of this music. Tragic and heroic motives, identified with different protagonists and dramatic situations Siegmund in the opening cycle — Siegfried the Hero-Redeemer — and Siegfried the Hunter in the proceeding cycles create a semantic semblance based on their musical characteristic and dramatic function: Lyrical themes, respectively, share common properties — refined melodic line, strident chromaticism with falling diminished intervals, characteristic orchestration by the expanded wood winds group three oboes and Corno inglese as a solo instrument; three fagots and a bass-fagot, clarinets with a bass clarinetwith an accompaniment by the strings and six harps.

Additional dimension of the conceptual integrity that Axionov used to address was the musical-cultural tradition of the Trauermarch itself. Axionov emphasized this line, eloquently illustrating all these pieces on the piano.

These was the pedagogical output following teaching one of the most stunning and controversial specimens in West-European music; an academic experience supported by the mesmerizing personality and thought-provoking lectures of Vladimir Axionov.

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