Suteu Cristina | Gheorghe Dima Music Academy Cluj, Romania (original) (raw)
Papers by Suteu Cristina
Studia Universitatis Babeş-Bolyai Musica, 2020
A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 193... more A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 1934) is a prominent figure in contemporary Romanian and universal music. In this article I presented the professional trajectory in a chronological and logical sequence of events of Cornel Ţăranu’s life, the list of all the doctoral theses supervised, his musicological publications, as well as his musical creation, organized by genres. He distinguished himself as a composer, musicologist, teacher, conductor of the “Ars Nova” ensemble as well as artistic director of the "Cluj Modern" Contemporary Music Festival, currently holding the position of Honorary President. His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. Representing an effigy of the contemporary Romanian music school of composition, Cornel Țăranu has included over 100 works in the patrimony of the national musical culture.
![Research paper thumbnail of Enescu’s Musical Language in Suite Impresii din copilărie [Impressions of Childhood]](https://attachments.academia-assets.com/89536389/thumbnails/1.jpg)
](Artes. Journal of Musicology, 2020
The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry ... more The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and...
Artes. Journal of Musicology, 2020
Limbajul muzical al lui George Enescu (1881-1955) este presărat cu valențe simbolice care poartă ... more Limbajul muzical al lui George Enescu (1881-1955) este presărat cu valențe simbolice care poartă amprenta culturii muzicale românești. Mai mult de o jumătate de secol (57 ani), Enescu a scris lucrări muzicale inspirate din tradiția folclorică românească. Între Poema Română, compusă pe când avea 16 ani (în 1897) și ultimul opus acordat Simfoniei de cameră (în 1954 la vârsta de 73 de ani), Enescu a mai compus două rapsodii, o sonată, un capriciu, o suită orchestrală, suita programatică Impresii din copilărie și Uvertură de concert pe o temă cu caracter popular românesc. Lucrarea Impresii din copilărie, op. 28, compusă în 1940, pe când Enescu avea 59 de ani, evocă zece scene din copilărie. Structura temporal-spațială a suitei relevă o gândire ciclică bazată pe o prezentare a imaginilor exterioare, urmate de cele interioare și de o revenire la exterior. Iar printr-o extrapolare a semnificațiilor, s-ar putea crea o analogie cu etapele vieții: copilărie, maturitate, bătrânețe. Prezentul material tratează elemente ale limbajului muzical utilizat de George Enescu, limbaj care dezvăluie influențele folclorului românesc, dar într-o manieră re-creată, ce poartă amprenta personalității și originalității compozitorului.
Information and Communication Technologies in the Musical Field, 2020
Founded in 1980 by Dr. H. Robert Cohen, Le Répertoire International de la Presse Musicale / Retro... more Founded in 1980 by Dr. H. Robert Cohen, Le Répertoire International de la Presse Musicale / Retrospective Index to Music Periodicals (RIPM) provides access to periodical literature dealing with music from 1760 to 1966. While the importance of this monumental documentary resource has long been recognized, RIPM represents the first effort to undertake and to coordinate, on an international scale, an initiative to reconstruct complete runs journals, to preserve them by scanning to archival standards, to index them in the language of the journal, and to make them accessible in several full-text databases. The value and excellence of this research portal has received much attention and praise for its immense contribution to musicological research. Recently, RIPM began to incorporate indexes to and the full text of, Romanian musical periodicals; the work consists of providing analytical indexes and introductions for journals in accordance with RIPM’s editorial guidelines and data entry system. From a list of over 60 Romanian journals that could be indexed (and the list may continue), two have already been added to RIPM: Tribuna muzicală (1909) and Arta muzicală (1911-1912). In short, the present paper gravitates around three questions: (1) what is RIPM, (2) what has been done so far with Romanian musical periodicals in relation with RIPM, (3) and what can be done in the future.
Musicology Papers, 2017
The Muzica journal is a Romanian specialized publication of the twentieth century which throughou... more The Muzica journal is a Romanian specialized publication of the twentieth century which throughout
its century-old history has witnessed the events of the two World Wars and of the December
Revolution. My aim is to provide an interdisciplinary approach (music-mathematics) to several
examples of criticism taken from this periodical, in the form of a “cube of music criticism”. This
approach will reveal six variants of the critical act: overrating, underrating, fair judgement and three
more cases in which criticism could not exist due to the absence of the critic, performers, or public
from the concert hall. I will analyse the valid possibilities, while making reference to the four periods
that marked the history of the journal: pre-war (1916), inter-war (1919-1925), post-war (1950-1989) and
post-December (1990-2016), specifying, where appropriate, the socio-political context as well.
Studia UBB Musica, 2018
: Musical criticism examines, interprets, appreciates the value and gives orientation to the arti... more : Musical criticism examines, interprets, appreciates the value and gives orientation to the artistic phenomenon using argumentation based on concepts. As a “judge“ (gr. krités – κριτήσ) the critic use his power of discernment to evaluate both the composition and artistic act. This article presents concisely answers to four basic questions related to musical criticism: What is?; Whom is addressed to?; Which is the aim?; Who should write it?. An interdisciplinary perspective on music, analytical thinking, objectivity versus subjectivity, the ability to look at the whole and highlight the fine points – these are some of key indicators in the spectrum of values used in writing musical criticism.
Keywords: artist, public, analytical sense, vocation, interdisciplinarity, subjectivity, objectivity, responsibility, adviser.
Musicology Papers, 2016
This paper revolves around four questions, preceded by an introductory section attempting to shin... more This paper revolves around four questions, preceded by an introductory section attempting
to shine a clarifying light on concepts such as “hermeneutics”, “music criticism” and “time”,
while taking the last on a brief journey through the history of philosophy. An integral and
integrating factor, time exerts its influence on music criticism and hermeneutics. The music
critic approaches his field from four temporal angles – kairós (the supreme moment), chrónos
(historical time), nûn (the present time) and aion (timelessness) – and therefore follows four
corresponding orientations: “what does he write?”; “for whom does he write?”; “when/how
is he established?” and “what is his purpose?”. Four “variations” on Romeo Ghircoiașiu's
flowchart, developed in 1979 and published in the Muzica journal, provide us with just as
many graphical representations of the critical act, one for each of the cases in question.
Joining us on our ideational journey will be the philosophers Heraclitus, Pythagoras, Plato,
Aristotle, Marcus Aurelius, Bruno, Bacon, Spinoza, Kant and Hegel and the critics and
musicologists Martin Cooper, Winton Dean, Bojan Bujić, Adrian Marino, Luminița Vartolomei and Romeo Ghircoiașiu. The conclusion offers a retrospective look over the
entire scientific endeavour, ending on Maryvonne Perrot's tone: “are we not ourselves the
dishevelled bundle of a multitude of other times?”
[
Artes. Journal of Musicology , 2020
The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry ... more The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and a return to the exterior. And by an extrapolation of meanings, I created an analogy with the stages of life: childhood, maturity and old age. This article also deals with elements of the musical language used by George Enescu in a manner that reveals a recreated Romanian folklore in a way which bears the imprint of personality and originality of the composer.
Musicology Papers, 2015
Dinu Lipatti (1917-1950) was a composer, performer and pedagogue of genius, gifted with the amazi... more Dinu Lipatti (1917-1950) was a composer, performer and pedagogue of genius, gifted with the amazing temperament of a “poet of the piano”, as conductor Ernest Ansermet used to call him, and, we would add, with that of a “poet of the pen” as well. There was, however, another field in which he was particularly interested, though less known to the public, namely that of music criticism. Over a period of two years, i.e. between 1938-1939, as a member of the “International Association of Art Critics”, he published music chronicles and criticism in the Libertatea newspaper, as our correspondent in Paris. Thus, the Romanian public came into contact with personalities of international music such as Fritz Kreisler, Charles Münch, Hephzibah and Yehudi Menuhin, Leon Szighera, Wanda Landowska, Hermann Scherchen etc. Dinu Lipatti successfully demonstrated that he was a true Debussy of his homeland: he was a composer, performer, teacher and critic. His works of criticism reveal a personality that coalesces around at least six salient traits: minuteness, elegance, neutrality, talent, (h)onesty, responsibility – which can be summarized by the acronym MENTOR.
Studia UBB Musica, 2020
A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 193... more A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 1934) is a prominent figure in contemporary Romanian and universal music. In this article I presented the professional trajectory in a chronological and logical sequence of events of Cornel Ţăranu’s life, the list of all the doctoral theses supervised, his musicological publications, as well as his musical creation, organized by genres. He distinguished himself as a composer, musicologist, teacher, conductor of the “Ars Nova” ensemble as well as artistic director of the "Cluj Modern" Contemporary Music Festival, currently holding the position of Honorary President. His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. Representing an effigy of the contemporary Romanian music school of composition, Cornel Țăranu has included over 100 works in the patrimony of the national musical culture.
Actualitatea Muzicală, 2016
Actualitatea Muzicala, 2017
Actualitatea Muzicală, 2017
Information and Communication Technologies in the Musical Field, 2018
ABSTRACT Music criticism is a process: from the decision to write about a musical interpretation ... more ABSTRACT Music criticism is a process: from the decision to write about a musical interpretation to the ideas materialized in a publication context. From the whole route of preparing the material for public attention, this article focuses on two interdependent factors: the use of terminology and the media framework in which the information will be disseminated. As a case study to exemplify the language to different authors, I chose Muzica journal-the only Romanian publication that covers a period of more than a century since its foundation until present. In the second part of the material I have provided an indicative list of the virtual publications of music criticism in Romania.
STUDIA UBB MUSICA, 2019
The present study aims to analyze the publications that preceded the Muzica Journal [The Music], ... more The present study aims to analyze the publications that preceded the Muzica Journal [The Music], with a focus on their critical evolution: Gazeta Teatrului Național [National Theatre Journal, 1835-1836], Musicul român [Romanian Music, 1861], Eco musicale di Romania [1869-1871], Lyra română [Romanian Lyra, 1879-1880], Arta [The Art, 1883-1885, 1894-1896], Doina [The Doina, 1884-1886], Musa română [Romanian Muse, 1888, 1894-1895, 1906-1907], Romănia musicală [Musical Romania, 1890-1904]. I will also emphasize their bibliographic aspects and the references to musical criticism, where appropriate. I will present the bibliographic details of the Muzica Journal (1908-1910, 1916; 1919-1923, 1925; 1950-present), as well as the musical criticism references of the same publication.
Key words: musical criticism, periodicals, Romania
Studia Universitatis Babeş-Bolyai Musica, 2020
A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 193... more A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 1934) is a prominent figure in contemporary Romanian and universal music. In this article I presented the professional trajectory in a chronological and logical sequence of events of Cornel Ţăranu’s life, the list of all the doctoral theses supervised, his musicological publications, as well as his musical creation, organized by genres. He distinguished himself as a composer, musicologist, teacher, conductor of the “Ars Nova” ensemble as well as artistic director of the "Cluj Modern" Contemporary Music Festival, currently holding the position of Honorary President. His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. Representing an effigy of the contemporary Romanian music school of composition, Cornel Țăranu has included over 100 works in the patrimony of the national musical culture.
Artes. Journal of Musicology, 2020
The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry ... more The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and...
Artes. Journal of Musicology, 2020
Limbajul muzical al lui George Enescu (1881-1955) este presărat cu valențe simbolice care poartă ... more Limbajul muzical al lui George Enescu (1881-1955) este presărat cu valențe simbolice care poartă amprenta culturii muzicale românești. Mai mult de o jumătate de secol (57 ani), Enescu a scris lucrări muzicale inspirate din tradiția folclorică românească. Între Poema Română, compusă pe când avea 16 ani (în 1897) și ultimul opus acordat Simfoniei de cameră (în 1954 la vârsta de 73 de ani), Enescu a mai compus două rapsodii, o sonată, un capriciu, o suită orchestrală, suita programatică Impresii din copilărie și Uvertură de concert pe o temă cu caracter popular românesc. Lucrarea Impresii din copilărie, op. 28, compusă în 1940, pe când Enescu avea 59 de ani, evocă zece scene din copilărie. Structura temporal-spațială a suitei relevă o gândire ciclică bazată pe o prezentare a imaginilor exterioare, urmate de cele interioare și de o revenire la exterior. Iar printr-o extrapolare a semnificațiilor, s-ar putea crea o analogie cu etapele vieții: copilărie, maturitate, bătrânețe. Prezentul material tratează elemente ale limbajului muzical utilizat de George Enescu, limbaj care dezvăluie influențele folclorului românesc, dar într-o manieră re-creată, ce poartă amprenta personalității și originalității compozitorului.
Information and Communication Technologies in the Musical Field, 2020
Founded in 1980 by Dr. H. Robert Cohen, Le Répertoire International de la Presse Musicale / Retro... more Founded in 1980 by Dr. H. Robert Cohen, Le Répertoire International de la Presse Musicale / Retrospective Index to Music Periodicals (RIPM) provides access to periodical literature dealing with music from 1760 to 1966. While the importance of this monumental documentary resource has long been recognized, RIPM represents the first effort to undertake and to coordinate, on an international scale, an initiative to reconstruct complete runs journals, to preserve them by scanning to archival standards, to index them in the language of the journal, and to make them accessible in several full-text databases. The value and excellence of this research portal has received much attention and praise for its immense contribution to musicological research. Recently, RIPM began to incorporate indexes to and the full text of, Romanian musical periodicals; the work consists of providing analytical indexes and introductions for journals in accordance with RIPM’s editorial guidelines and data entry system. From a list of over 60 Romanian journals that could be indexed (and the list may continue), two have already been added to RIPM: Tribuna muzicală (1909) and Arta muzicală (1911-1912). In short, the present paper gravitates around three questions: (1) what is RIPM, (2) what has been done so far with Romanian musical periodicals in relation with RIPM, (3) and what can be done in the future.
Musicology Papers, 2017
The Muzica journal is a Romanian specialized publication of the twentieth century which throughou... more The Muzica journal is a Romanian specialized publication of the twentieth century which throughout
its century-old history has witnessed the events of the two World Wars and of the December
Revolution. My aim is to provide an interdisciplinary approach (music-mathematics) to several
examples of criticism taken from this periodical, in the form of a “cube of music criticism”. This
approach will reveal six variants of the critical act: overrating, underrating, fair judgement and three
more cases in which criticism could not exist due to the absence of the critic, performers, or public
from the concert hall. I will analyse the valid possibilities, while making reference to the four periods
that marked the history of the journal: pre-war (1916), inter-war (1919-1925), post-war (1950-1989) and
post-December (1990-2016), specifying, where appropriate, the socio-political context as well.
Studia UBB Musica, 2018
: Musical criticism examines, interprets, appreciates the value and gives orientation to the arti... more : Musical criticism examines, interprets, appreciates the value and gives orientation to the artistic phenomenon using argumentation based on concepts. As a “judge“ (gr. krités – κριτήσ) the critic use his power of discernment to evaluate both the composition and artistic act. This article presents concisely answers to four basic questions related to musical criticism: What is?; Whom is addressed to?; Which is the aim?; Who should write it?. An interdisciplinary perspective on music, analytical thinking, objectivity versus subjectivity, the ability to look at the whole and highlight the fine points – these are some of key indicators in the spectrum of values used in writing musical criticism.
Keywords: artist, public, analytical sense, vocation, interdisciplinarity, subjectivity, objectivity, responsibility, adviser.
Musicology Papers, 2016
This paper revolves around four questions, preceded by an introductory section attempting to shin... more This paper revolves around four questions, preceded by an introductory section attempting
to shine a clarifying light on concepts such as “hermeneutics”, “music criticism” and “time”,
while taking the last on a brief journey through the history of philosophy. An integral and
integrating factor, time exerts its influence on music criticism and hermeneutics. The music
critic approaches his field from four temporal angles – kairós (the supreme moment), chrónos
(historical time), nûn (the present time) and aion (timelessness) – and therefore follows four
corresponding orientations: “what does he write?”; “for whom does he write?”; “when/how
is he established?” and “what is his purpose?”. Four “variations” on Romeo Ghircoiașiu's
flowchart, developed in 1979 and published in the Muzica journal, provide us with just as
many graphical representations of the critical act, one for each of the cases in question.
Joining us on our ideational journey will be the philosophers Heraclitus, Pythagoras, Plato,
Aristotle, Marcus Aurelius, Bruno, Bacon, Spinoza, Kant and Hegel and the critics and
musicologists Martin Cooper, Winton Dean, Bojan Bujić, Adrian Marino, Luminița Vartolomei and Romeo Ghircoiașiu. The conclusion offers a retrospective look over the
entire scientific endeavour, ending on Maryvonne Perrot's tone: “are we not ourselves the
dishevelled bundle of a multitude of other times?”
[
Artes. Journal of Musicology , 2020
The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry ... more The musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and a return to the exterior. And by an extrapolation of meanings, I created an analogy with the stages of life: childhood, maturity and old age. This article also deals with elements of the musical language used by George Enescu in a manner that reveals a recreated Romanian folklore in a way which bears the imprint of personality and originality of the composer.
Musicology Papers, 2015
Dinu Lipatti (1917-1950) was a composer, performer and pedagogue of genius, gifted with the amazi... more Dinu Lipatti (1917-1950) was a composer, performer and pedagogue of genius, gifted with the amazing temperament of a “poet of the piano”, as conductor Ernest Ansermet used to call him, and, we would add, with that of a “poet of the pen” as well. There was, however, another field in which he was particularly interested, though less known to the public, namely that of music criticism. Over a period of two years, i.e. between 1938-1939, as a member of the “International Association of Art Critics”, he published music chronicles and criticism in the Libertatea newspaper, as our correspondent in Paris. Thus, the Romanian public came into contact with personalities of international music such as Fritz Kreisler, Charles Münch, Hephzibah and Yehudi Menuhin, Leon Szighera, Wanda Landowska, Hermann Scherchen etc. Dinu Lipatti successfully demonstrated that he was a true Debussy of his homeland: he was a composer, performer, teacher and critic. His works of criticism reveal a personality that coalesces around at least six salient traits: minuteness, elegance, neutrality, talent, (h)onesty, responsibility – which can be summarized by the acronym MENTOR.
Studia UBB Musica, 2020
A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 193... more A plurivalent personality, the master and academician Cornel Țăranu (born in Cluj on June 20, 1934) is a prominent figure in contemporary Romanian and universal music. In this article I presented the professional trajectory in a chronological and logical sequence of events of Cornel Ţăranu’s life, the list of all the doctoral theses supervised, his musicological publications, as well as his musical creation, organized by genres. He distinguished himself as a composer, musicologist, teacher, conductor of the “Ars Nova” ensemble as well as artistic director of the "Cluj Modern" Contemporary Music Festival, currently holding the position of Honorary President. His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. Representing an effigy of the contemporary Romanian music school of composition, Cornel Țăranu has included over 100 works in the patrimony of the national musical culture.
Actualitatea Muzicală, 2016
Actualitatea Muzicala, 2017
Actualitatea Muzicală, 2017
Information and Communication Technologies in the Musical Field, 2018
ABSTRACT Music criticism is a process: from the decision to write about a musical interpretation ... more ABSTRACT Music criticism is a process: from the decision to write about a musical interpretation to the ideas materialized in a publication context. From the whole route of preparing the material for public attention, this article focuses on two interdependent factors: the use of terminology and the media framework in which the information will be disseminated. As a case study to exemplify the language to different authors, I chose Muzica journal-the only Romanian publication that covers a period of more than a century since its foundation until present. In the second part of the material I have provided an indicative list of the virtual publications of music criticism in Romania.
STUDIA UBB MUSICA, 2019
The present study aims to analyze the publications that preceded the Muzica Journal [The Music], ... more The present study aims to analyze the publications that preceded the Muzica Journal [The Music], with a focus on their critical evolution: Gazeta Teatrului Național [National Theatre Journal, 1835-1836], Musicul român [Romanian Music, 1861], Eco musicale di Romania [1869-1871], Lyra română [Romanian Lyra, 1879-1880], Arta [The Art, 1883-1885, 1894-1896], Doina [The Doina, 1884-1886], Musa română [Romanian Muse, 1888, 1894-1895, 1906-1907], Romănia musicală [Musical Romania, 1890-1904]. I will also emphasize their bibliographic aspects and the references to musical criticism, where appropriate. I will present the bibliographic details of the Muzica Journal (1908-1910, 1916; 1919-1923, 1925; 1950-present), as well as the musical criticism references of the same publication.
Key words: musical criticism, periodicals, Romania
Musical criticism represents an interval of communication values which develops its set of action... more Musical criticism represents an interval of communication values which develops its set of actions on a gnoseological territory, from where the object of its research – the sound phenomenon – is perceived like an axiological and complex structure. It encompasses the auditory receptivity and studies the significance of creation and the aesthetic value of the performance by which is emphasized the expressiveness, the balance between intention, achievement and the force of suggestion.
The central theme of the book was shaped after a variety of answers that I have obtained at this question: “How to write a musical criticism?”. Starting from Umberto Eco’s statement, Come si fa una tesi di laurea [How to Write a Thesis?]. I have asked myself: Come si fa una critica musicale? This question has motivated me to a deep research of the area, a less approached subject in Romania, but it can remain opened for further investigations.As a starting point I have chosen the terms from the title, which constitute the essence of the contents of the book: periegesis, exegesis, hermeneutics. Its senses are revealed by the questions from the Quintilian’s hexameter: quis (who), quid (what), ubi (where), quibus auxiliis (by what means), cur (why), quomodo (how) and quando (when).
The content of this research includes the last of those “three worlds of music” noticed by the conductor Erich Leinsdorf: of the composer, of the performer and of the critic. The title reveals the essence of the the work expressed in three words: periegesis, exegesis and hermeneutics. These are three parts which forms the intern constitution of the entire research investigation. Three pillars in the cathedral of art which are impossible to be explored only with an instant and synthetic glance but, eventually by a serie of analytical, reflexive and conclusive considerations.
Lucrarea de faţă are la bază o întrebare cheie: Cum se scrie o critică muz... more Lucrarea de faţă are la bază o întrebare cheie:
Cum se scrie o critică muzicală?
Valenţele multiple ale răspunsurilor se concretizează în trei idei principale:
PERIEGEZĂ
Cum S-A SCRIS critică muzicală: itinerar istoric în şase ţări din Europa – Anglia, Germania, Austria, Franţa, Italia şi România.
EXEGEZĂ
CUM s-a scris critică muzicală: demers care analizează contextul în care s-a publicat în România.
HERMENEUTICĂ
Cum se scrie o CRITICA MUZICALA: perspectiva personală încadrată în concepţiile unor personalităţi ale acestui domeniu.
Întregul conţinut gravitaţionează în jurul revistei "Muzica", singura publicaţie de specialitate din România care depăşeşte un secol de la înfiinţare.