Mileniul trei pe portativ: ontifonismul 1 Constelaţii
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Roman
Ed. Muşatinia
2006
|
| Schriftenreihe: | Colecţia Harpha
Colecţia Harpha |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 205 S. graph. Darst., Notenbeisp. |
| ISBN: | 9738762529 |
Internformat
MARC
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| 100 | 1 | |a Ciobanu, Gheorghe A. M. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Mileniul trei pe portativ |b ontifonismul |n 1 |p Constelaţii |c Gheorghe A. M. Ciobanu |
| 264 | 1 | |a Roman |b Ed. Muşatinia |c 2006 | |
| 300 | |a 205 S. |b graph. Darst., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
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Datensatz im Suchindex
| _version_ | 1804136281923387392 |
|---|---|
| adam_text | CUPRINS
Prefaţă
.................................................................................7
Preludiu
...............................................................................11
Partea
I:
MEDITAŢII
.............................................................13
-
Cap.
1:
Humanic
............................................................13
-
Cap.
2:
Filosofic
.............................................................20
-
Cap.
3:
Estetic
...............................................................28
Partea
а П-а:
MODALAŢn
......................................................37
-
Cap.
4:
Modalic
..............................................................37
-
Cap.
5:
Sonoric
...............................................................42
-
Cap.
6:
Vizualic
..............................................................46
-
Cap.
7:
Receptalic
...........................................................49
Partea
а Ш-а:
MODELAŢI!
....................................................71
-
Cap.
8:
Contentane
.........................................................71
-
Cap.
9:
Morfologic
............................................................79
-Cap.
10:
Componistic
......................................................93
Postludiu
..............................................................................115
Alterludiu
.............................................................................119
Anexar
.................................................................................125
Glosar...........
......................................................................155
Grafíar
.................................................................................157
Postfaţă
................................................................................201
Cuprins
................................................................................205
Bayerisch©
Λ
Staatsbibliothek
München
J
The Third Millennium in
G Clef
-
the Ontiphony
The steady evolution of humankind, of its spiritual and material creations, has brought
into being new visions and forms with which to meet the future. The Arts and especially
Music, are very important to this process, contributing as they do to new and broader
perspectives. Thus, in recent times,
Orfeu
s
Art created many original formulas, some of
them seemingly natural, but many others connected with mathematical experimentation and
with electronic techniques.
At the same time, human civilization has come closer and closer to the immensity of
the universe, knowing it and intimately living its existential greatness, naturally sensing its
artistic themes and creativity.
For several decades now, the terrestrial space in which we dwell with all its multitude
of
socio-human
embodiments, has been revealed to us through the balanced tonal music,
through its minor and major pulses. Yet, to also grasp the cosmos from beyond , with its
structure of infinite islands and with its stellar neutrality, can not be achieved, either formally
or symbolically, based simply on the tonal binominal. And, as humankind is heading more and
more and with amazing speed towards becoming a cosmicfan , in order to generate this
mega
or infinity it seems that the endless attribute of the modes must be used, with their
multitude, seemingly repeating the galaxies of the sky.
From this comes our motivation to create, through Ontifonism
,
a musical formula
which is based, mainly, on modes. Such a music, genetically modal, can embody the universe
more authentically, separate from the existence lived in the terrestrial world, capturing, with
its characteristic spatiality, the big Existence
-
the World Ontism
-
from whence comes
the name of Ontifonism
.
From the plurality of the modes, as if without limit,
1
separated a
number of
295
which I constituted in a system, unitary but also open, with or without
symmetries, orderly, oriented towards stellar expansion and retraction, each of them being
constituted, entirely, as an element in itself of
ontic
creativity, as it is, tonally one, the sound.
123
Being a
music of tomorrow , also updated arc both the new forms of artistic
creation and the terminology from now on , as well as the interpretation procedure, personal
reception and re-creation. The Ontifonism
,
a deep human formula and adequate to the future
spirituality, brings to fruition in a superior manner the subtle and multiple content of the
modes, the spatial cosmic image conveyed by these, the differential modality but also the co¬
operation between modal and tonal, the creative capacity of all the participants, as well as the
amplifying feeling of human belonging to the infinite of beyond , which will be known from
meta
to mega , generation after generation, ever more, but only from afar. The repeated
flights of the cosmic rackets, no matter how evolved they might be, will never offer us the
universe. Our destiny, as people of Terra, repeats, from this point of view, the loneliness of
Eminescu s Euthanasius Islands .
The Ontifonism
does not generalize and separate itself from the other formulas, be
they classical or avant-garde, but just joins them. It is a contemporary modality through which
man also attains a cosmic dimension from an aesthetic point of view, and the astral space
becomes through this also human.
124
|
| adam_txt |
CUPRINS
Prefaţă
.7
Preludiu
.11
Partea
I:
MEDITAŢII
.13
-
Cap.
1:
Humanic
.13
-
Cap.
2:
Filosofic
.20
-
Cap.
3:
Estetic
.28
Partea
а П-а:
MODALAŢn
.37
-
Cap.
4:
Modalic
.37
-
Cap.
5:
Sonoric
.42
-
Cap.
6:
Vizualic
.46
-
Cap.
7:
Receptalic
.49
Partea
а Ш-а:
MODELAŢI!
.71
-
Cap.
8:
Contentane
.71
-
Cap.
9:
Morfologic
.79
-Cap.
10:
Componistic
.93
Postludiu
.115
Alterludiu
.119
Anexar
.125
Glosar.
.155
Grafíar
.157
Postfaţă
.201
Cuprins
.205
Bayerisch©
Λ
Staatsbibliothek
München
J
The Third Millennium in
G Clef
-
the Ontiphony
The steady evolution of humankind, of its spiritual and material creations, has brought
into being new visions and forms with which to meet the future. The Arts and especially
Music, are very important to this process, contributing as they do to new and broader
perspectives. Thus, in recent times,
"Orfeu'
s
Art" created many original formulas, some of
them seemingly natural, but many others connected with mathematical experimentation and
with electronic techniques.
At the same time, human civilization has come closer and closer to the immensity of
the universe, knowing it and intimately living its existential greatness, naturally sensing its
artistic themes and creativity.
For several decades now, the terrestrial space in which we dwell with all its multitude
of
socio-human
embodiments, has been revealed to us through the balanced tonal music,
through its minor and major pulses. Yet, to also grasp the cosmos from "beyond", with its
structure of infinite islands and with its stellar neutrality, can not be achieved, either formally
or symbolically, based simply on the tonal binominal. And, as humankind is heading more and
more and with amazing speed towards becoming a "cosmicfan", in order to generate this
"mega
"
or "infinity" it seems that the endless attribute of the modes must be used, with their
multitude, seemingly repeating the galaxies of the sky.
From this comes our motivation to create, through "Ontifonism
",
a musical formula
which is based, mainly, on modes. Such a music, genetically modal, can embody the universe
more authentically, separate from the "existence" lived in the terrestrial world, capturing, with
its characteristic spatiality, the big "Existence
"-
"the World Ontism
" -
from whence comes
the name of "Ontifonism
".
From the plurality of the modes, as if without limit,
1
separated a
number of
295
which I constituted in a system, unitary but also open, with or without
symmetries, orderly, oriented towards stellar expansion and retraction, each of them being
constituted, entirely, as an element in itself of
ontic
creativity, as it is, tonally one, the sound.
123
Being a
music of "tomorrow", also "updated" arc both the new forms of artistic
creation and the terminology "from now on", as well as the interpretation procedure, personal
reception and re-creation. The "Ontifonism
" ,
a deep human formula and adequate to the future
spirituality, brings to fruition in a superior manner the subtle and multiple content of the
modes, the spatial cosmic image conveyed by these, the differential modality but also the co¬
operation between modal and tonal, the creative capacity of all the participants, as well as the
amplifying feeling of human belonging to the infinite of "beyond", which will be known from
"meta"
to "mega", generation after generation, ever more, but only from afar. The repeated
flights of the cosmic rackets, no matter how evolved they might be, will never offer us the
universe. Our destiny, as people of Terra, repeats, from this point of view, the loneliness of
Eminescu's "Euthanasius'Islands".
The "Ontifonism
"
does not generalize and separate itself from the other formulas, be
they classical or avant-garde, but just joins them. It is a contemporary modality through which
man also attains a cosmic dimension from an aesthetic point of view, and the astral space
becomes through this also human.
124 |
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| spelling | Ciobanu, Gheorghe A. M. Verfasser aut Mileniul trei pe portativ ontifonismul 1 Constelaţii Gheorghe A. M. Ciobanu Roman Ed. Muşatinia 2006 205 S. graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Colecţia Harpha (DE-604)BV022275699 1 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015486094&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015486094&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ciobanu, Gheorghe A. M. Mileniul trei pe portativ ontifonismul |
| title | Mileniul trei pe portativ ontifonismul |
| title_auth | Mileniul trei pe portativ ontifonismul |
| title_exact_search | Mileniul trei pe portativ ontifonismul |
| title_exact_search_txtP | Mileniul trei pe portativ ontifonismul |
| title_full | Mileniul trei pe portativ ontifonismul 1 Constelaţii Gheorghe A. M. Ciobanu |
| title_fullStr | Mileniul trei pe portativ ontifonismul 1 Constelaţii Gheorghe A. M. Ciobanu |
| title_full_unstemmed | Mileniul trei pe portativ ontifonismul 1 Constelaţii Gheorghe A. M. Ciobanu |
| title_short | Mileniul trei pe portativ |
| title_sort | mileniul trei pe portativ ontifonismul constelatii |
| title_sub | ontifonismul |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015486094&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015486094&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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