Concepte interpretative în muzica vocală a secolului XX:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Iaşi
Ed. Junimea
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 274 S. Notenbeisp. |
| ISBN: | 9733711411 |
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| adam_text | Concepte interpretative în muzica vocală a secolului
XX
CUPRINS
INTRODUCERE
PLEDOARIE PENTRU O FILOZOFIE A CÂNTULUI
................................ 9
ÎN CĂUTAREA UNOR NOI ORIENTĂRI.
.................................................. 11
PARTEA
I
ECOURI CLASICE ÎN MODERNITATEA
DISCURSULUI VOCAL AL SECOLULUI
XX
......................20
CAPITOLUL
1
ARTADE
„A VORBI CÂNTÂND
........................................................26
1.1.
REFLECŢII ASUPRA LIMBAJULUI VORBIT
........................................... 28
1.2.
REFLECŢII ASUPRA FIZIOLOGIEI VOCALE
......................................... 31
CAPITOLUL
2
CONSIDERAŢII ASUPRA RECITATIVELOR DIN MUZICA DE
OPERĂ ITALIANĂ ŞI FRANCEZĂ (SEC. XVII-XVIII)
... 34
2.1.
MODELUL ITALIAN
..................................................................................... 36
2.2.
MODELUL FRANCEZ
.................................................................................. 42
CAPITOLUL
3
VOCEA UMANĂOE
FRANCIS
POULENC.......................................
48
3.1.
FRANCIS POULENC
ŞI „GRUPUL CELOR ŞASE
.................................. 48
3.2.
VOCEA UMANĂ, FORMĂ- CONŢINUT
-
EXPRESIE
........................... 51
3.3.
CONSIDERAŢII ASUPRA EFORTULUI RE-CREATW
ÎN OPERA
-
VOCEA UMANĂ
........................................................................... 75
CAPITOLUL
4
VOCALITATEA ÎN SERVICIUL CUVÂNTULUI
SAU OSMOZĂ ÎN LIEDUL ROMÂNESC
................................ 84
4.1.
RECITAR CANTANDO..................................................................................
85
4.2.
RECITATIVO SECCO
.................................................................................... 91
4.3.
RECITATIVUL ROMÂNESC
........................................................................ 94
PARTEA A II-A
CREAŢIA VOCALĂ A SECOLULUI
XX
-
SPAŢIU AL
INTERFERENŢEI UNIVERSULUI POETIC CU
UNIVERSUL MUZICAL
..................................................................99
Adela BURLUI
CAPITOLUL
1
DE LA UN UNIVERS POETIC LA O „LUME SONORĂ INEDITĂ
-
LE STAGIONI GIAPPONESI
DE ROMAN
VLÁD
.....................99
2.2.
VOCEA „IDEALĂ ÎN LE
STAIÖNI
IAPPONESI
............................ 105
1.2.
DE LA SONORITATEA CUVINTELOR LA SENSUL MUZICAL
........... 111
1.3.
RITMUL
-
TEMPO-UL
-
ELEMENTE STRUCTURALE
DEFINITORII ÎN CONFIGURAREA UNIVERSULUI MUZICAL
................ 119
1.4.
CÂWmMTONATIONALALHAmU-KORÍN^SIj^mU&VOmS
1
.120
1.5.
RELAŢIA VOCE
-
PIAN ÎN
XE
STAIDNIGUPPONESI
................... 135
ÎN LOC DE CONCLUZII.
139
CAPITOLUL
2
IMPLICAŢII ESTETICE ALE RELAŢIEI CUVÂNT
-
MUZICĂ
ÎN LIEDUL ROMÂNESC
............... ................................................ 140
2.1.
METAFORA VOCALĂ
-
MIJLOC DE CREAŢIE
ÎN LIEDUL ROMÂNESC
............................................................................ 143
2.2.
METAFORA VOCALĂ, DEVIERE ŞI SURPLUS DE
SEMNIFICAŢIE, ÎN LIEDUL ROMÂNESC
............................................. 146
PARTEA A III-A
VALORIFICAREA CALITĂŢILOR VOCALE ŞI ARTISTICE
ÎN DIVERSITATEA REPERTORIALĂ A MUZICII
SECOLULUI
XX
................................................................................ 157
CAPITOLUL
1
FIZIONOMIA DISCURSULUI VOCAL
ÎN CREAŢIA SECOLULUI
XX
................................................... 157
1.1.
INTRODUCERE ÎN CÂMPUL ESTETIC
AL DISCURSULUI VOCAL
........................................................................ 157
1.2.
OPŢIUNI ESTETICE ÎN CONFIGURA Ţ1A
DISCURSULUI VOCAL AL SECOLULUI
XX
........................................... 170
1.3.
REZONANŢE ESTETICE VOCALE
CONTEMPORANE ÎN LIEDUL ROMÂNESC
.......................................... 187
CAPITOLUL
2
EXBENT
E
IMPUSE ARTISTULUI LIRIC CONTEMPORAN
... 198
2.1.
DESCHIDERI CONTEMPORANE
-
MUTA ŢII ALE UNOR DEFICIENŢE
VOCALE ÎN SPECTRUL EXPRESIV
........................................................
19S
2.1.1.
Efecte respiratorii
........................................................... 199
2.1.2.
Efecte de emisie
.............................................................. 200
2.1.3.
Efecte de rezonanţă
........................................................ 202
2.1.4.
Efecte intonaţionale
........................................................ 203
2.1.5.
Efecte de articulaţie
........................................................ 204
Concepte interpretative în muzica vocală a secolului
XX
CONSIDERAŢII FINALE
........................................................................
206
Anexa
I
CATALOGL CREA ŢBEI LUI
FRANCIS
POULENC..........................
210
Anexa
II
LUCRĂRI STUDIATE
..............................................................................215
Anexa III
1.
NOTE BIOKAFICE
............................................................................222
2.
CATALOGL CREA ŢIEI LUI ROMAN VLAD
......................223
Anexa
IV
TRADUCERILE
MK-URBLOR
DIN LIMBA ITALIAN
Ä
.................230
Anexa
V
CLASIFICAREA DISFUNCŢIILOR VOCALE
.............................237
Anexa
VI
FIŞĂ DE REPERTORIU
..........................................................................241
BIBLIOKAFIE
1.
BIBLIO&AFIE ENERAL Ă (SELECTIVĂ)
..........................248
2.
DICŢIONARE ŞI ENCICLOPEDII
................................................253
3.
BIBLIOKAFIE MUZICAL Ă (SELECTIVĂ)
..........................254
4.
PARTITURI
...............................................................................................262
REZUMAT ÎN LIMBA ENEEZ Ă
...................................................265
Concepte interpretative în muzica vocală a secolului
XX
INTRODUCTION
TO
PLEAD FOR A PHILOSOPHY OF SONG
In a contrast configuration that characterizes the contemporary
musical art, vocal performance
-
in agreement with the complex score that
requires new
forais
of comprehension and a special chromatic spectrum
-
is
often mistrusted.
The two-fold process
-
of deconstraction and reconstruction
-
the
quintessence of vitality in the musical artistic act the vocal technical
elements of which are circumscribed by classical or, closer to the truth,
traditional concepts of performance, seems deficient when it faces that
sonorous reality where dissonance and atonality prevail, and various
intensities and modulations of the speaking voice
-
infusions of individuality
and originality
-
imply multiple options and technical-expressive decisions.
As the entire musical world has been searching for new modalities
of updating the multidimensional and multivalent knowledge process of the
musical text, the extension of our research aims both at musical elements
and at interdisciplinary and interrelating fields, such as philosophy,
physiology, aesthetics.
Plead for A Philosophy of Song is an attempt to tackle the issue of
the engagement of philosophy
-
the science of wisdom
-
in remodeling the
traditional way of musical knowledge and performance.
Against this background, both voice and score become objects of
knowledge at the extent to which the singer, through knowledge, proceeds
to their investigation, catches them within his own cognitive structure and
action means. Therefore, to comprehend the cognitive value of the art of
singing, it is necessary to analyze how the involved psycho-somatic and
artistic structures
-
sensations, perceptions, representations, musical hearing,
musical memory etc.
-
may get, by insight, the capacity of reflecting what is
essential, necessary and general in the musical text.
265
Adela BURLUI
Ist
PART
CLASSICAL ECHOES IN THE MODERNITY OF THE
VOCAL DISCOURSE OF THE 20th CENTURY
Subject to historical change, aesthetic knowledge is the one that
provides to the singer the possibility of extending his field of perspective,
which determined us to tackle in the
1st
chapter the issue of the complex
processes of adaptation and change of the old models, reiterated in the new
vocal creation.
The evolution of vocal artistic creation is a complex one, first due to
the creators desire to enrich and transform sensibly the expression
modalities. The new vocality, a landmark for contemporary musical
creation, is materialized in the vocal discourse built
bý
composers, either
adding to the already existing regulations
-
that stand for tradition
-
a new
range of possibilities, or using the old modalities of expression, adapting
them to the requirements of an emotional content that reflects the changes
occurred in the way each epoch perceived music.
Starting from the premise that the employment of the already
existing conventions is to a great extent unavoidable and moreover useful,
in the score performance by the character of Human Voice by Francis
Poulenc,
we paid attention to the study of some typological aesthetic forms
of expression, found in the fundamental styles of opera as a genre, such as
baroque. This enabled us to take into consideration the hypothesis that in the
vocal style of the concerned opera a mutation deriving from certain
stylistic archetypes occurs.
The typological approach of the recitative, because it is to the
recitative that we make reference, from a historical perspective, raises the
question: is the art of speaking by singing claimed by the musical creation
of the 20th century, by the occurrence in the configuration of the vocal
discourse of the
Sprechgesang, an
exclusive creation of this century, or did
it follow a reiterative phenomenon, that is taken from the past and changed
according to the cultural and aesthetic expectancy of the epoch? This is the
question that drawn the attention of researchers and caused many
controversies.
Our question refers only to the melodrama Human Voice and not the
entire operatic creation of
Poulenc, as
it is quite different compared to other
authors compositions, circumscribed by the same stylistic archetypes.
266
Concepte interpretative în muzica vocală a secolului JOC
1st CHAPTER
ART OF SPEAKING BY SINGING
In the opera development period, starting with the epoch of Baroque
and until the 20th century, the local and national specificity features
contributed to the evolution of its forms of manifestation, implicitly of the
recitative, reinforcing concomitantly the position of the genre. Therefore,
due to the manifestation of the sundry color of the phenomenon, depending
on language and geographical position, the premises of the discrimination of
some fundamental typologies are created.
It is obvious that an approach that tackles how speaking by singing
is done in the opera, within the historical perspective of its dynamics, should
envisage the corresponding development of the form and way in which they
interfere with the other elements of opera. By means of musical examples,
we undertook short historical accounts in order to outline some detentiining
coordinates in the technique of recitative performance. And, as any other
analytical approach, we attempted to distinguish a series of features
relatively commune as they appear quite frequently, that would lead us to
the distinction of recitatives in various European cultures.
2nd CHAPTER
CONSIDERATIONS OF RECITATIVES OF ITALIAN
AND FRENCH OPERA
(17* -
18th centuries)
In the evolution of the operatic show, mostly of the operatic
recitative, there are some personalities whose creations are memorable
landmarks both for the recitative development and for the ethnic and
aesthetic constant values subordinated to the national
-
universal relationship.
Being sure that our study could hardly contain such vast information we
undertook to make a sonorous imagery of pattern recitatives.
Our method relied on the extrapolation of the characters of speech
(pitch and modulation), with some completions specific to singing (register
influences on the vocal expression of recitatives) and ascertained the
comparison of musical curves and of the modulation range of the recitatives
chosen as model by using the same type of graphic representation.
Due to the subjective character of interpretation, I preferred to give
to our studies an indicative result insisting on the purely intuitive side of our
experience. The result of such an approach helped us in the determination of
the guidelines of the performing techniques of the model recitatives.
The 17th and 18th centuries are without doubt essential stages in the
history of the opera show. They were centuries when the conceptual
267
Adela
BURLUI
platform of the art of speaking by singing was created, that knew a special
ulterior development on the line of traditional conception being distinctive
in various cultural forms and perimeters. Being linked to language, the tune
of the recitative follows the profile of any language, with the ethnic and
psychological particularities of its people. By the examples and
interpretations given, with a technical connotation, we show that the
recitative of the 20th century, outsourced from the musicality of speech
and the verbalization of music, contributes to the outlining of the dramatic
and psychological meaning of the literary texts exploited musically, sums up
experiences and successive accumulations in a complex process of
transformation of the artistic language.
3rd CHAPTER
HUMAN VOICE BY FRANCIS
POULENC
The lyrical tragedy in one act, Human Voice, was composed by
Francis
Poulenc
in
1958
on a text made by
Jean Cocteau,
after his play
(1937)
with the same name.
Accustomed to the traditional form of the genre, made up as we all
know of one or several acts, we notice that the lyrical tragedy Human Voice
is performed restlessly like a musical story, where we distinguish lyrical
episodes, dramatic ones making up a picture with vague reminiscences of
the classical genre, of remarkable expressiveness and stylistic unity. The
form and conceptual particularity of the opera is as unusual as interesting.
One-act opera, divided into
110
items of variable sizes, Human Voice is an
opera where
Poulenc,
going back in time to the structure of the first shows
of the Baroque genre, made up of recitatives and
cantando recitar,
confers a
new aspect to the lyrical theater starting from tradition, interpreted and
exploited in a particular way. We consider that the lyrical tragedy Human
Voice is a becoming of the
rappresentativo
style, enriched by
orchestration, harmonized and scenic.
4th CHAPTER
VOCALITY IN THE SERVICE OF THE WORD
OR OSMOSIS IN THE ROMANIAN LIED
Vocality
-
as a structure that collects of linguistic phenomena with a
potentiality that cannot be developed fully in music except by intensive
elaboration like poetry
-
becomes the vector of the meaning, by the use of
its expressive modalities. Therefore, the vocal configuration appears in
various contrasting forms in the Romanian song, according to the role
played by voice and creation modalities, resultmg from the deep and total
268
Concepte
interpretative
ín
muzica vocală a secolului
XX
agreement to the most subtle nuances between the sensitivity of a poet and
of a composer that becomes a translator. Tributary to the tradition and also
sensitized by the renewing transformations of music, the creators of the 20th
century, willing to illustrate sonorously their poetical ideas and the
prolongation of their meaning through sounds, resort to various solution of
integrating the verbal matter in the vocal configuration.
One of the procedures used is that the vocal writing should be
exposed in a declamatory manner, either under a chanting form, giving rise
to
a recitar
candando,
or deeply influenced by the
parlato
style, generating
that type
οι
recitativo secco
and parlando-mbato.
The entire art of the 20th century composers focused on the discovery
of the modalities corresponding to the expressive translation of ideas into
musical language. The expressive dimension of the recitative made the
Romanian musicians pay it a special attention, as it became an novel
solution, a particularity of the Romanian vocal spirituality.
Preoccupied by the possibility to transform creatively the intonations
of the spoken language into musical art, following the principle of the
identity between the text stress and music stress .
Mihail
Jora,
the founder
of the Romanian chamber vocalism , as Stefan Niculescu characterizes
him, created a melodic recitative with melodic and rhythmic formulas of
folkloric origin.
Valuable and novel at the same time, the Romanian melodic
recitative is the main component of the vocal configuration, in the creation
of Romanian musicians.
The importance of the declamatory-recitative type in the vocal
configuration of the creation of Romanian lied imposes a series of general
conclusions meant to synthesize these qualities that confer specificity to the
performing style.
Even if there is an indissoluble link between sound and word in
performance, the rhythmic and modulating precision cannot be replaced by
the effect of syllabication. Without interrupting the general sonority and the
rhythm of the musical phrase, the performer should reproduce the stress by a
light voice stress that would produce a delicate emphasis of the sound on the
strongest syllable of the word. The voice of the performer should avail a
certain strength to verbal scanning , because the emission of the singing
voice under exigencies of intensity and length of some phrases that such a
recitative requires is not at all related to the emission of the speaking voice.
Although the way composers treat vocal writing, in the most
frequent cases, shows that they understand the performance problems, each
word should be clothed by voice in pitch colors differentiated by psycho-
dramatic situations they give raise to, so that the recitative would not
become a monotonous chanting.
269
Adela BURLUI
PART
II
20TH
- CENTURY
VOCAL
CREATION
SPACE OF THE INTERFERENCE OF THE POETIC
UNIVERSE WITH THE MUSICAL UNIVERSE
1st CHAPTER
FROM THE POETIC UNIVERSE TO AN NOVEL
SONOROUS WORLD
-
LE STAGIONI GIAPPOESI
BY
ROMAN VLAD
For centuries, literature recorded the efforts of musicians and
literates of discovering the miracle of the confluence between text and
music, with its subtly impact on the art consumer. What may music bring to
the literary text and the reverse, how may poetry help musical creation? This
challenging question assumes first of all that each art should be envisaged
separately and, second, none is reducible to the other. Under a shape that is
obviously circumstantial, linked to the day-by-day completion of the works
that represent the two worlds, the poetic and the sonorous one, the issue of
the autonomy or heterogeneity of the art that composers, as well as poets,
were tempted to study in depth, will always be raised.
Renowned composers of the 20th century
-
not few at all
-
incited by
poetry for music and music for poetry that often plays the part of the
prince that awakens the sleeping beauty intuiting the function of voice
virtualities, provide by their creation new expressive possibilities to
vocality. The sonorous and the poetic worlds will act one on the other in
perceptive field stronger by the amplification of the meanings of words
ineffable that sonorous modulations absorb and reinforce.
The expressive poly-valence of voice enabled composers find in
vocal music more than in any other art the most adequate means to express
the spiritual universe of a people.
Several European musicians, representative personalities of the 20th
century, started searching for new inspiration sources and tempted by new
colors, were seduced by the charm of the Japanese literature. The tension of
the emotion, condensed in the miniature form of haikus, the delicate
lyricism of themes and the refined style, their exceptional evocative capacity
and suggestiveness impressed them in a special way, determining them to
create. We could remind
Strawinski (Trois
poesies
de la lyrique japonaise),
Bohuslav Martinu
(Nipponari
- 7
songs for woman
s
voice and instrumental
group), Roberto Gerhard
(7
haikus),
Sabin
Pautza
(6
Nocturns on Japanese
Lyrics for Soprano and Orchestra) etc.
270
Concepte interpretative în muzica vocală a secolului
XX
At his turn, fascinated by the Oriental lyricism, another brilliant
composer, Roman Vlad, writes in
1993
Le stagioni giapponesi, a
cycle of
5
series of musical haikus, after classical poems of Japanese literature, of
poets like Matso Basho
(1664-1694),
Yosa Buson
(1716-1784),
Kabayashi
Issa
(1763-1827).
The analysis of the relations between word and voice, the melodic
configuration and the musical language in the sonorous world created by
Roman Vlad with the lied cycle Japanese Seasons gave us the possibility to
discover a vocal universe founded originally on particular vocal technical
elements coming largely
ířom
Japanese traditional modes.
2nd CHAPTER
AESTHETIC IMPLICATIONS OF THE RELATIONSHIP
WORD
-
MUSIC IN THE ROMANIAN LIED
The aesthetic qualities of the vocal discourse are often discovered
when it is related to other languages. Being aware of the fact that voice is
grafted on
sensorial
contents resulted from experience, embedded with
significations in the vocal discourse, we resorted in our research to
linguistics, poetics, semiotics and philosophy studies.
The important place that lied fills in the genre landscape of the
Romanian contemporary creation determined us to elaborate a study in order
to outline the originality of vocality, originality that marks the creation of
the 20th century. The Romanian lied in the 20th century shows an extremely
vast and varied spiritual relief.
The spectacular expression and the stress of the expressive potential
of the poetic text gave us the opportunity to identify in the vocal miniature
of the 20th century onomatopoetic metaphors achieved by
Sprechgesang,
glissado and vocalized segments.
The redundant vocal metaphor, similarly present in the imagery
universe of the Romanian composers
-
born from the emotional
connotative
dimensions of words associated with sonorous modulations
-
contribute to
the demonstration of the interference of the musical and of the poetic worlds.
By this chapter, we wanted to draw attention to the originality of the
Romanian lied composers of the 20th century, that focus by means of vocal
metaphors, in a less common manner, on certain components of the poetic
and musical worlds that seem obsolete and that sensibly refreshen the way
lied is regarded generally-speaking.
Furthermore, we want to notice the fact that in Romanian song,
music and poetry do not confine themselves to coexisting, on the contraiy,
they intermingle in a unique expression and that the vocal metaphor
particularly is a wonderful demonstration of the interference of the two arts.
271
Adela BURLUI
3rd PART
USE OF VOCAL AND ARTISTIC QUALITIES IN THE
REPERTORY DIVERSITY OF THE 20th CENTURY
MUSIC
1st CHAPTER
PHYSIONOMY OF THE VOCAL DISCOURSE IN THE
CREATION OF THE 20th CENTURY
The interest for the way in which vocal and artistic qualities are
exploited in the creation of the 20th century constrained us in the 3rd part of
the study to an overall perspective of vocal discourse physiognomy, the
configuration of which sums up accumulations and tecrmical-performing
accumulations and experiences and novel aesthetic options.
Without intending to make an incursion in the history of singing art,
we consider that it is not only interesting but it is also necessary to remind
the aesthetic coordinates that lied at the basis of the vocal discourse.
Even in this way, the analysis of this phenomenon would involve a
vast study that the limited space of our research could not support. This is
why we undertook a simple radiography of the various performing vocal
typologies and styles that participated in the affirmation of vocality as work
of art.
However brief this history is, it cannot overlook the lact that the
history of the art of singing is directly linked to the evolution of the opera
show that starts from
Camerata fiorentina,
crosses the imagined trajectory
traced inventively by Monteverdi
-
Lully
-
Rameau
-
Gluck
-
Mozart
-
Beethoven
-
Rossini
-
Verdi
-
Wagner
-
Puccini
-
Debussy
- Schonberg -
just to remind a few of the composers that had a spectacular contribution to
the development of opera as genre
-
and reaches to our days.
Restraining the perspective of the researched artistic phenomenon,
we emphasized some procedures of voice exposition in the melodic
configuration
-
constitutive signs of the developed aesthetic field in the
vocal music of the 20th century.
The 20th century is the century when the most particular resources of
language and theories, like modalism, atonalism, dodecafonism, polytonality,
polyrhythmics, serialism, are alternatives proposed and exploited by
composers in order to enlarge and diversify the instruments of their own
universe.
Consequence of the extension of the expressive capacity of the
musical language and of the wide specter of expression solutions discovered
272
Concepte interpretative în muzica vocală a secolului
XX
by 20th century composers, the physiognomy of the vocal discourse benefits
from an obvious change of the aesthetic field.
Conditioned by melodic and rhythmic factors to which the juggling
with various pitch combinations is added
-
that create novel vocal formulas
-
the aesthetic field in the perimeter of which the synthesis of European or
extra-European tradition is not excluded, reconfirms the vocal discourse of
the 20th century as work of art.
Considered deeply expressive, starting from Arnold
Schonberg,
Alban
Berg, Webern -
forgetting not the aesthetic connotations they had in
Debussy s opera
-
the particularities of
Sprechgesang,
causes generating
lively impressions in the melodic context, start being assimilated in the
aesthetic field of the vocal discourse under various shapes:
declamando,
Sprechstimme,
parlato, quasi parlato
etc. or by micro-intervals.
The beginning of the 21st century does not allow is yet to discern
totally the physiognomy of the vocal discourse. What we wanted to outline
by this subchapter was the dynamics of the vocal art and the fantasy that
conquers and affirms itself in this century oriented towards modernity and
maybe towards an unmeasured extravagance.
273
Adela BURLUI
2nd CHAPTER
EXIGENCIES IMPOSED TO THE CONTEMPORARY
LYRICAL ARTIST
With regard to work theme
-
performance concepts
-
the 20th
century provides novel experiences resulting from spectacular novelties of
language and from scenic challenges that require more than ever the
inventiveness of the performer: they should be molded to settle the
difficulties of the new musical drama.
In the last chapters of the study, the attempt to emphasize the
exigencies imposed by the repertoire of the contemporary lyrical artist
materialized in two directions: the elaboration of the performance concept in
conformity with the composition process and the significance of the vocal
text, according to precise rules; the determination of the changes occurred in
the extra-textual reality of the melodic line by imposing certain technical
procedures. The last issue forced us to make an analysis of the performance
technical procedures bringing in front the study framework: the necessity of
the interdisciplinary relations from the interaction of which the artist
borrows what he needs to enrich his imagery museum and the vocal
performances.
To synthesize, we may say that the fact breaking the cliches
conferred the contemporary vocal aesthetics a completely different status
than the traditional one. The mutations on which this aesthetics is most of
the times founded are not considered anomalies any more
-
that would
achieve various degrees of technical incompatibility with the traditional
methods
-
but they are considered norms, unanimously accepted as
suggestive and characterizing multiple situations.
The mutations signaled in this sub-chapter led, in our opinion, to the
re-interpretation of the performance concepts, as an expression of the
reconciliation of dramatic art with singing art.
We also consider that the engagement in this research was an
opportunity to initiate a new type of knowledge, generating also uncertainties.
The study comprises doubts, questions, observations and partial responses
that are meant to maintain the dialog on vocality alive, dialog that cannot be
discarded neither by the performance conceptual apparatus or by teaching.
Even if the vocal phenomenon often gave and we are sure it will still
do, the occasion of making contradictory assertions sustained with passion
and tenacity by their adepts, they also make room for new insights.
274
|
| adam_txt |
Concepte interpretative în muzica vocală a secolului
XX
CUPRINS
INTRODUCERE
PLEDOARIE PENTRU O FILOZOFIE A CÂNTULUI
. 9
ÎN CĂUTAREA UNOR NOI ORIENTĂRI.
. 11
PARTEA
I
ECOURI CLASICE ÎN MODERNITATEA
DISCURSULUI VOCAL AL SECOLULUI
XX
.20
CAPITOLUL
1
ARTADE
„A VORBI CÂNTÂND"
.26
1.1.
REFLECŢII ASUPRA LIMBAJULUI VORBIT
. 28
1.2.
REFLECŢII ASUPRA FIZIOLOGIEI VOCALE
. 31
CAPITOLUL
2
CONSIDERAŢII ASUPRA RECITATIVELOR DIN MUZICA DE
OPERĂ ITALIANĂ ŞI FRANCEZĂ (SEC. XVII-XVIII)
. 34
2.1.
MODELUL ITALIAN
. 36
2.2.
MODELUL FRANCEZ
. 42
CAPITOLUL
3
VOCEA UMANĂOE
FRANCIS
POULENC.
48
3.1.
FRANCIS POULENC
ŞI „GRUPUL CELOR ŞASE"
. 48
3.2.
VOCEA UMANĂ, FORMĂ- CONŢINUT
-
EXPRESIE
. 51
3.3.
CONSIDERAŢII ASUPRA EFORTULUI RE-CREATW
ÎN OPERA
-
VOCEA UMANĂ
. 75
CAPITOLUL
4
VOCALITATEA ÎN SERVICIUL CUVÂNTULUI
SAU OSMOZĂ ÎN LIEDUL ROMÂNESC
. 84
4.1.
RECITAR CANTANDO.
85
4.2.
RECITATIVO SECCO
. 91
4.3.
RECITATIVUL ROMÂNESC
. 94
PARTEA A II-A
CREAŢIA VOCALĂ A SECOLULUI
XX
-
SPAŢIU AL
INTERFERENŢEI UNIVERSULUI POETIC CU
UNIVERSUL MUZICAL
.99
Adela BURLUI
CAPITOLUL
1
DE LA UN UNIVERS POETIC LA O „LUME" SONORĂ INEDITĂ
-
LE STAGIONI GIAPPONESI
DE ROMAN
VLÁD
.99
2.2.
VOCEA „IDEALĂ" ÎN LE
STAIÖNI
IAPPONESI
. 105
1.2.
DE LA SONORITATEA CUVINTELOR LA SENSUL MUZICAL
. 111
1.3.
RITMUL
-
TEMPO-UL
-
ELEMENTE STRUCTURALE
DEFINITORII ÎN CONFIGURAREA UNIVERSULUI MUZICAL
. 119
1.4.
CÂWmMTONATIONALALHAmU-KORÍN^SIj^mU&VOmS
1
.120
1.5.
RELAŢIA VOCE
-
PIAN ÎN
XE
STAIDNIGUPPONESI
. 135
ÎN LOC DE CONCLUZII.
139
CAPITOLUL
2
IMPLICAŢII ESTETICE ALE RELAŢIEI CUVÂNT
-
MUZICĂ
ÎN LIEDUL ROMÂNESC
.'. 140
2.1.
METAFORA VOCALĂ
-
MIJLOC DE CREAŢIE
ÎN LIEDUL ROMÂNESC
. 143
2.2.
METAFORA VOCALĂ, DEVIERE ŞI SURPLUS DE
SEMNIFICAŢIE, ÎN LIEDUL ROMÂNESC
. 146
PARTEA A III-A
VALORIFICAREA CALITĂŢILOR VOCALE ŞI ARTISTICE
ÎN DIVERSITATEA REPERTORIALĂ A MUZICII
SECOLULUI
XX
. 157
CAPITOLUL
1
FIZIONOMIA DISCURSULUI VOCAL
ÎN CREAŢIA SECOLULUI
XX
. 157
1.1.
INTRODUCERE ÎN CÂMPUL ESTETIC
AL DISCURSULUI VOCAL
. 157
1.2.
OPŢIUNI ESTETICE ÎN CONFIGURA Ţ1A
DISCURSULUI VOCAL AL SECOLULUI
XX
. 170
1.3.
REZONANŢE ESTETICE VOCALE
CONTEMPORANE ÎN LIEDUL ROMÂNESC
. 187
CAPITOLUL
2
EXBENT
E
IMPUSE ARTISTULUI LIRIC CONTEMPORAN
. 198
2.1.
DESCHIDERI CONTEMPORANE
-
MUTA ŢII ALE UNOR DEFICIENŢE
VOCALE ÎN SPECTRUL EXPRESIV
.
19S
2.1.1.
Efecte respiratorii
. 199
2.1.2.
Efecte de emisie
. 200
2.1.3.
Efecte de rezonanţă
. 202
2.1.4.
Efecte intonaţionale
. 203
2.1.5.
Efecte de articulaţie
. 204
Concepte interpretative în muzica vocală a secolului
XX
CONSIDERAŢII FINALE
.
206
Anexa
I
CATALOGL CREA ŢBEI LUI
FRANCIS
POULENC.
210
Anexa
II
LUCRĂRI STUDIATE
.215
Anexa III
1.
NOTE BIOKAFICE
.222
2.
CATALOGL CREA ŢIEI LUI ROMAN VLAD
.223
Anexa
IV
TRADUCERILE
MK-URBLOR
DIN LIMBA ITALIAN
Ä
.230
Anexa
V
CLASIFICAREA DISFUNCŢIILOR VOCALE
.237
Anexa
VI
FIŞĂ DE REPERTORIU
.241
BIBLIOKAFIE
1.
BIBLIO&AFIE ENERAL Ă (SELECTIVĂ)
.248
2.
DICŢIONARE ŞI ENCICLOPEDII
.253
3.
BIBLIOKAFIE MUZICAL Ă (SELECTIVĂ)
.254
4.
PARTITURI
.262
REZUMAT ÎN LIMBA ENEEZ Ă
.265
Concepte interpretative în muzica vocală a secolului
XX
INTRODUCTION
TO
PLEAD FOR A PHILOSOPHY OF SONG
In a contrast configuration that characterizes the contemporary
musical art, vocal performance
-
in agreement with the complex score that
requires new
forais
of comprehension and a special chromatic spectrum
-
is
often mistrusted.
The two-fold process
-
of deconstraction and reconstruction
-
the
quintessence of vitality in the musical artistic act the vocal technical
elements of which are circumscribed by classical or, closer to the truth,
traditional concepts of performance, seems deficient when it faces that
sonorous reality where dissonance and atonality prevail, and various
intensities and modulations of the speaking voice
-
infusions of individuality
and originality
-
imply multiple options and technical-expressive decisions.
As the entire musical "world" has been searching for new modalities
of updating the multidimensional and multivalent knowledge process of the
musical text, the extension of our research aims both at musical elements
and at interdisciplinary and interrelating fields, such as philosophy,
physiology, aesthetics.
Plead for A Philosophy of Song is an attempt to tackle the issue of
the engagement of philosophy
-
the science of "wisdom"
-
in remodeling the
traditional way of musical knowledge and performance.
Against this background, both voice and score become objects of
knowledge at the extent to which the singer, through knowledge, proceeds
to their investigation, catches them within his own cognitive structure and
action means. Therefore, to comprehend the cognitive value of the art of
singing, it is necessary to analyze how the involved psycho-somatic and
artistic structures
-
sensations, perceptions, representations, musical hearing,
musical memory etc.
-
may get, by insight, the capacity of reflecting what is
essential, necessary and general in the musical text.
265
Adela BURLUI
Ist
PART
CLASSICAL ECHOES IN THE MODERNITY OF THE
VOCAL DISCOURSE OF THE 20th CENTURY
Subject to historical change, aesthetic knowledge is the one that
provides to the singer the possibility of extending his field of perspective,
which determined us to tackle in the
1st
chapter the issue of the complex
processes of adaptation and change of the old models, reiterated in the new
vocal creation.
The evolution of vocal artistic creation is a complex one, first due to
the creators' desire to enrich and transform sensibly the expression
modalities. The new vocality, a landmark for contemporary musical
creation, is materialized in the vocal discourse built
bý
composers, either
adding to the already existing regulations
-
that stand for tradition
-
a new
range of possibilities, or using the old modalities of expression, adapting
them to the requirements of an emotional content that reflects the changes
occurred in the way each epoch perceived music.
Starting from the premise that the employment of the already
existing conventions is to a great extent unavoidable and moreover useful,
in the score performance by the character of Human Voice by Francis
Poulenc,
we paid attention to the study of some typological aesthetic forms
of expression, found in the fundamental styles of opera as a genre, such as
baroque. This enabled us to take into consideration the hypothesis that in the
vocal style of the concerned opera a "mutation" deriving from certain
stylistic archetypes occurs.
The typological approach of the recitative, because it is to the
recitative that we make reference, from a historical perspective, raises the
question: is the art of "speaking by singing" claimed by the musical creation
of the 20th century, by the occurrence in the configuration of the vocal
discourse of the
Sprechgesang, an
exclusive creation of this century, or did
it follow a reiterative phenomenon, that is taken from the past and changed
according to the cultural and aesthetic expectancy of the epoch? This is the
question that drawn the attention of researchers and caused many
controversies.
Our question refers only to the melodrama Human Voice and not the
entire operatic creation of
Poulenc, as
it is quite different compared to other
authors' compositions, circumscribed by the same stylistic archetypes.
266
Concepte interpretative în muzica vocală a secolului JOC
1st CHAPTER
ART OF "SPEAKING BY SINGING"
In the opera development period, starting with the epoch of Baroque
and until the 20th century, the local and national specificity features
contributed to the evolution of its forms of manifestation, implicitly of the
recitative, reinforcing concomitantly the position of the genre. Therefore,
due to the manifestation of the sundry color of the phenomenon, depending
on language and geographical position, the premises of the discrimination of
some fundamental typologies are created.
It is obvious that an approach that tackles how "speaking by singing"
is done in the opera, within the historical perspective of its dynamics, should
envisage the corresponding development of the form and way in which they
interfere with the other elements of opera. By means of musical examples,
we undertook short historical accounts in order to outline some detentiining
coordinates in the technique of recitative performance. And, as any other
analytical approach, we attempted to distinguish a series of features
relatively commune as they appear quite frequently, that would lead us to
the distinction of recitatives in various European cultures.
2nd CHAPTER
CONSIDERATIONS OF RECITATIVES OF ITALIAN
AND FRENCH OPERA
(17* -
18th centuries)
In the evolution of the operatic show, mostly of the operatic
recitative, there are some personalities whose creations are memorable
landmarks both for the recitative development and for the ethnic and
aesthetic constant values subordinated to the national
-
universal relationship.
Being sure that our study could hardly contain such vast information we
undertook to make a sonorous imagery of pattern recitatives.
Our method relied on the extrapolation of the characters of speech
(pitch and modulation), with some completions specific to singing (register
influences on the vocal expression of recitatives) and ascertained the
comparison of musical curves and of the modulation range of the recitatives
chosen as model by using the same type of graphic representation.
Due to the subjective character of interpretation, I preferred to give
to our studies an indicative result insisting on the purely intuitive side of our
experience. The result of such an approach helped us in the determination of
the guidelines of the performing techniques of the model recitatives.
The 17th and 18th centuries are without doubt essential stages in the
history of the opera show. They were centuries when the conceptual
267
Adela
BURLUI
platform of the art of "speaking by singing" was created, that knew a special
ulterior development on the line of traditional conception being distinctive
in various cultural forms and perimeters. Being linked to language, the tune
of the recitative follows the profile of any language, with the ethnic and
psychological particularities of its people. By the examples and
interpretations given, with a technical connotation, we show that the
recitative of the 20th century, outsourced from the "musicality" of speech
and the "verbalization" of music, contributes to the outlining of the dramatic
and psychological meaning of the literary texts exploited musically, sums up
experiences and successive accumulations in a complex process of
transformation of the artistic language.
3rd CHAPTER
HUMAN VOICE BY FRANCIS
POULENC
The lyrical tragedy in one act, Human Voice, was composed by
Francis
Poulenc
in
1958
on a text made by
Jean Cocteau,
after his play
(1937)
with the same name.
Accustomed to the traditional form of the genre, made up as we all
know of one or several acts, we notice that the lyrical tragedy Human Voice
is performed restlessly like a musical story, where we distinguish lyrical
episodes, dramatic ones making up a picture with vague reminiscences of
the classical genre, of remarkable expressiveness and stylistic unity. The
form and conceptual particularity of the opera is as unusual as interesting.
One-act opera, divided into
110
items of variable sizes, Human Voice is an
opera where
Poulenc,
going back in time to the structure of the first shows
of the Baroque genre, made up of recitatives and
cantando recitar,
confers a
new aspect to the lyrical theater starting from tradition, interpreted and
exploited in a particular way. We consider that the lyrical tragedy Human
Voice is a "becoming" of the
"rappresentativo"
style, enriched by
orchestration, harmonized and scenic.
4th CHAPTER
VOCALITY IN THE SERVICE OF THE WORD
OR OSMOSIS IN THE ROMANIAN LIED
Vocality
-
as a structure that collects of linguistic phenomena with a
potentiality that cannot be developed fully in music except by intensive
elaboration like poetry
-
becomes the vector of the meaning, by the use of
its expressive modalities. Therefore, the vocal configuration appears in
various contrasting forms in the Romanian song, according to the role
played by voice and creation modalities, resultmg from the deep and total
268
Concepte
interpretative
ín
muzica vocală a secolului
XX
agreement to the most subtle nuances between the sensitivity of a poet and
of a composer that becomes a translator. Tributary to the tradition and also
sensitized by the renewing transformations of music, the creators of the 20th
century, willing to illustrate sonorously their poetical ideas and the
prolongation of their meaning through sounds, resort to various solution of
integrating the verbal matter in the vocal configuration.
One of the procedures used is that the vocal writing should be
exposed in a declamatory manner, either under a chanting form, giving rise
to
a recitar
candando,
or deeply influenced by the
parlato
style, generating
that type
οι
recitativo secco
and parlando-mbato.
The entire art of the 20th century composers focused on the discovery
of the modalities corresponding to the expressive translation of ideas into
musical language. The expressive dimension of the recitative made the
Romanian musicians pay it a special attention, as it became an novel
solution, a particularity of the Romanian vocal spirituality.
Preoccupied by the possibility to transform creatively the intonations
of the spoken language into musical art, following "the principle of the
identity between the text stress and music stress".
Mihail
Jora,
the founder
of the "Romanian chamber vocalism", as Stefan Niculescu characterizes
him, created a melodic recitative with melodic and rhythmic formulas of
folkloric origin.
Valuable and novel at the same time, the Romanian melodic
recitative is the main component of the vocal configuration, in the creation
of Romanian musicians.
The importance of the declamatory-recitative type in the vocal
configuration of the creation of Romanian lied imposes a series of general
conclusions meant to synthesize these qualities that confer specificity to the
performing style.
Even if there is an indissoluble link between sound and word in
performance, the rhythmic and modulating precision cannot be replaced by
the effect of syllabication. Without interrupting the general sonority and the
rhythm of the musical phrase, the performer should reproduce the stress by a
light voice stress that would produce a delicate emphasis of the sound on the
strongest syllable of the word. The voice of the performer should avail a
certain strength to verbal "scanning", because the emission of the singing
voice under exigencies of intensity and length of some phrases that such a
recitative requires is not at all related to the emission of the speaking voice.
Although the way composers treat vocal writing, in the most
frequent cases, shows that they understand the performance problems, each
word should be "clothed" by voice in pitch colors differentiated by psycho-
dramatic situations they give raise to, so that the recitative would not
become a monotonous chanting.
269
Adela BURLUI
PART
II
20TH
- CENTURY
VOCAL
CREATION
SPACE OF THE INTERFERENCE OF THE POETIC
UNIVERSE WITH THE MUSICAL UNIVERSE
1st CHAPTER
FROM THE POETIC UNIVERSE TO AN NOVEL
SONOROUS "WORLD"
-
LE STAGIONI GIAPPOESI
BY
ROMAN VLAD
For centuries, literature recorded the efforts of musicians and
literates of discovering the miracle of the confluence between text and
music, with its subtly impact on the art consumer. What may music bring to
the literary text and the reverse, how may poetry help musical creation? This
challenging question assumes first of all that each art should be envisaged
separately and, second, none is reducible to the other. Under a shape that is
obviously circumstantial, linked to the day-by-day completion of the works
that represent the two worlds, the poetic and the sonorous one, the issue of
the autonomy or heterogeneity of the art that composers, as well as poets,
were tempted to study in depth, will always be raised.
Renowned composers of the 20th century
-
not few at all
-
incited by
"poetry for music and music for poetry" that "often plays the part of the
prince that awakens the sleeping beauty" intuiting the function of voice
virtualities, provide by their creation new expressive possibilities to
vocality. The sonorous and the poetic worlds will act one on the other in
perceptive field stronger by the amplification of the meanings of words
ineffable that sonorous modulations absorb and reinforce.
The expressive poly-valence of voice enabled composers find in
vocal music more than in any other art the most adequate means to express
the spiritual universe of a people.
Several European musicians, representative personalities of the 20th
century, started searching for new inspiration sources and tempted by new
colors, were seduced by the charm of the Japanese literature. The tension of
the emotion, condensed in the miniature form of haikus, the delicate
lyricism of themes and the refined style, their exceptional evocative capacity
and suggestiveness impressed them in a special way, determining them to
create. We could remind
Strawinski (Trois
poesies
de la lyrique japonaise),
Bohuslav Martinu
(Nipponari
- 7
songs for woman
's
voice and instrumental
group), Roberto Gerhard
(7
haikus),
Sabin
Pautza
(6
Nocturns on Japanese
Lyrics for Soprano and Orchestra) etc.
270
Concepte interpretative în muzica vocală a secolului
XX
At his turn, fascinated by the Oriental lyricism, another brilliant
composer, Roman Vlad, writes in
1993
Le stagioni giapponesi, a
cycle of
5
series of musical haikus, after classical poems of Japanese literature, of
poets like Matso Basho
(1664-1694),
Yosa Buson
(1716-1784),
Kabayashi
Issa
(1763-1827).
The analysis of the relations between word and voice, the melodic
configuration and the musical language in the sonorous world created by
Roman Vlad with the lied cycle Japanese Seasons gave us the possibility to
discover a vocal universe founded originally on particular vocal technical
elements coming largely
ířom
Japanese traditional modes.
2nd CHAPTER
AESTHETIC IMPLICATIONS OF THE RELATIONSHIP
WORD
-
MUSIC IN THE ROMANIAN LIED
The aesthetic qualities of the vocal discourse are often discovered
when it is related to other languages. Being aware of the fact that voice is
grafted on
sensorial
contents resulted from experience, embedded with
significations in the vocal discourse, we resorted in our research to
linguistics, poetics, semiotics and philosophy studies.
The important place that lied fills in the genre landscape of the
Romanian contemporary creation determined us to elaborate a study in order
to outline the originality of vocality, originality that marks the creation of
the 20th century. The Romanian lied in the 20th century shows an extremely
vast and varied spiritual relief.
The spectacular expression and the stress of the expressive potential
of the poetic text gave us the opportunity to identify in the vocal miniature
of the 20th century onomatopoetic metaphors achieved by
Sprechgesang,
glissado and vocalized segments.
The redundant vocal metaphor, similarly present in the imagery
universe of the Romanian composers
-
born from the emotional
connotative
dimensions of words associated with sonorous modulations
-
contribute to
the demonstration of the interference of the musical and of the poetic worlds.
By this chapter, we wanted to draw attention to the originality of the
Romanian lied composers of the 20th century, that focus by means of vocal
metaphors, in a less common manner, on certain components of the poetic
and musical worlds that seem obsolete and that sensibly refreshen the way
lied is regarded generally-speaking.
Furthermore, we want to notice the fact that in Romanian song,
music and poetry do not confine themselves to coexisting, on the contraiy,
they intermingle in a unique expression and that the vocal metaphor
particularly is a wonderful demonstration of the interference of the two arts.
271
Adela BURLUI
3rd PART
USE OF VOCAL AND ARTISTIC QUALITIES IN THE
REPERTORY DIVERSITY OF THE 20th CENTURY
MUSIC
1st CHAPTER
PHYSIONOMY OF THE VOCAL DISCOURSE IN THE
CREATION OF THE 20th CENTURY
The interest for the way in which vocal and artistic qualities are
exploited in the creation of the 20th century constrained us in the 3rd part of
the study to an overall perspective of vocal discourse physiognomy, the
configuration of which sums up accumulations and tecrmical-performing
accumulations and experiences and novel aesthetic options.
Without intending to make an incursion in the history of singing art,
we consider that it is not only interesting but it is also necessary to remind
the aesthetic coordinates that lied at the basis of the vocal discourse.
Even in this way, the analysis of this phenomenon would involve a
vast study that the limited space of our research could not support. This is
why we undertook a simple "radiography" of the various performing vocal
typologies and styles that participated in the affirmation of vocality as work
of art.
However brief this history is, it cannot overlook the lact that the
history of the art of singing is directly linked to the evolution of the opera
show that starts from
Camerata fiorentina,
crosses the imagined trajectory
traced inventively by Monteverdi
-
Lully
-
Rameau
-
Gluck
-
Mozart
-
Beethoven
-
Rossini
-
Verdi
-
Wagner
-
Puccini
-
Debussy
- Schonberg -
just to remind a few of the composers that had a spectacular contribution to
the development of opera as genre
-
and reaches to our days.
Restraining the perspective of the researched artistic phenomenon,
we emphasized some procedures of voice exposition in the melodic
configuration
-
constitutive signs of the developed aesthetic field in the
vocal music of the 20th century.
The 20th century is the century when the most particular resources of
language and theories, like modalism, atonalism, dodecafonism, polytonality,
polyrhythmics, serialism, are alternatives proposed and exploited by
composers in order to enlarge and diversify the instruments of their own
universe.
Consequence of the extension of the expressive capacity of the
musical language and of the wide specter of expression solutions discovered
272
Concepte interpretative în muzica vocală a secolului
XX
by 20th century composers, the physiognomy of the vocal discourse benefits
from an obvious change of the aesthetic field.
Conditioned by melodic and rhythmic factors to which the juggling
with various pitch combinations is added
-
that create novel vocal formulas
-
the aesthetic field in the perimeter of which the synthesis of European or
extra-European tradition is not excluded, reconfirms the vocal discourse of
the 20th century as work of art.
Considered deeply expressive, starting from Arnold
Schonberg,
Alban
Berg, Webern -
forgetting not the aesthetic connotations they had in
Debussy's opera
-
the particularities of
Sprechgesang,
causes generating
lively impressions in the melodic context, start being assimilated in the
aesthetic field of the vocal discourse under various shapes:
declamando,
Sprechstimme,
parlato, quasi parlato
etc. or by micro-intervals.
The beginning of the 21st century does not allow is yet to discern
totally the physiognomy of the vocal discourse. What we wanted to outline
by this subchapter was the dynamics of the vocal art and the fantasy that
conquers and affirms itself in this century oriented towards modernity and
maybe towards an unmeasured extravagance.
273
Adela BURLUI
2nd CHAPTER
EXIGENCIES IMPOSED TO THE CONTEMPORARY
LYRICAL ARTIST
With regard to work theme
-
performance concepts
-
the 20th
century provides novel experiences resulting from spectacular novelties of
language and from scenic challenges that require more than ever the
inventiveness of the performer: they should be molded to settle the
difficulties of the new musical drama.
In the last chapters of the study, the attempt to emphasize the
exigencies imposed by the repertoire of the contemporary lyrical artist
materialized in two directions: the elaboration of the performance concept in
conformity with the composition process and the significance of the vocal
text, according to precise rules; the determination of the changes occurred in
the extra-textual reality of the melodic line by imposing certain technical
procedures. The last issue forced us to make an analysis of the performance
technical procedures bringing in front the study framework: the necessity of
the interdisciplinary relations from the interaction of which the artist
borrows what he needs to enrich his "imagery museum" and the vocal
performances.
To synthesize, we may say that the fact breaking the cliches
conferred the contemporary vocal aesthetics a completely different status
than the traditional one. The mutations on which this aesthetics is most of
the times founded are not considered anomalies any more
-
that would
achieve various degrees of technical incompatibility with the traditional
methods
-
but they are considered norms, unanimously accepted as
suggestive and characterizing multiple situations.
The mutations signaled in this sub-chapter led, in our opinion, to the
re-interpretation of the performance concepts, as an expression of the
reconciliation of dramatic art with singing art.
We also consider that the engagement in this research was an
opportunity to initiate a new type of knowledge, generating also uncertainties.
The study comprises doubts, questions, observations and partial responses
that are meant to maintain the dialog on vocality alive, dialog that cannot be
discarded neither by the performance conceptual apparatus or by teaching.
Even if the vocal phenomenon often gave and we are sure it will still
do, the occasion of making contradictory assertions sustained with passion
and tenacity by their adepts, they also make room for new insights.
274 |
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| illustrated | Illustrated |
| index_date | 2024-07-02T18:07:39Z |
| indexdate | 2024-07-09T20:59:41Z |
| institution | BVB |
| isbn | 9733711411 |
| language | Romanian |
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| spelling | Burlui, Adela Verfasser aut Concepte interpretative în muzica vocală a secolului XX Adela Burlui Iaşi Ed. Junimea 2006 274 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1900-2000 gnd rswk-swf Vokalmusik (DE-588)4063783-9 gnd rswk-swf Interpretation (DE-588)4072905-9 gnd rswk-swf Vokalmusik (DE-588)4063783-9 s Interpretation (DE-588)4072905-9 s Geschichte 1900-2000 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015740583&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=015740583&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Burlui, Adela Concepte interpretative în muzica vocală a secolului XX Vokalmusik (DE-588)4063783-9 gnd Interpretation (DE-588)4072905-9 gnd |
| subject_GND | (DE-588)4063783-9 (DE-588)4072905-9 |
| title | Concepte interpretative în muzica vocală a secolului XX |
| title_auth | Concepte interpretative în muzica vocală a secolului XX |
| title_exact_search | Concepte interpretative în muzica vocală a secolului XX |
| title_exact_search_txtP | Concepte interpretative în muzica vocală a secolului XX |
| title_full | Concepte interpretative în muzica vocală a secolului XX Adela Burlui |
| title_fullStr | Concepte interpretative în muzica vocală a secolului XX Adela Burlui |
| title_full_unstemmed | Concepte interpretative în muzica vocală a secolului XX Adela Burlui |
| title_short | Concepte interpretative în muzica vocală a secolului XX |
| title_sort | concepte interpretative in muzica vocala a secolului xx |
| topic | Vokalmusik (DE-588)4063783-9 gnd Interpretation (DE-588)4072905-9 gnd |
| topic_facet | Vokalmusik Interpretation |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015740583&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=015740583&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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