Dimitrie Cantemir - muzicianul în contextul culturii universale: = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Chişinău
Academia de Ştiinţe a Moldovie, Institutul Patriomoniuluii Cultural, Centrul Studiul Artelor
2015
Chişinău Grafema Libris 2015 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Register // Personenregister Abstract |
| Beschreibung: | 496 Seiten Illustrationen, Notenbeispiele, Porträts, Faksimiles |
| ISBN: | 9790348002439 9789975522007 |
Internformat
MARC
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| 245 | 1 | 0 | |a Dimitrie Cantemir - muzicianul în contextul culturii universale |b = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |c Victor Ghilaş |
| 246 | 1 | 3 | |a Dimitrie Cantemir |
| 246 | 1 | 1 | |a Dimitrie Cantemir - the musician in the context of world culture |
| 246 | 1 | 1 | |a Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| 264 | 1 | |a Chişinău |b Academia de Ştiinţe a Moldovie, Institutul Patriomoniuluii Cultural, Centrul Studiul Artelor |c 2015 | |
| 264 | 1 | |a Chişinău |b Grafema Libris |c 2015 | |
| 300 | |a 496 Seiten |b Illustrationen, Notenbeispiele, Porträts, Faksimiles | ||
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| 546 | |a Zusammenfassung auf Russisch unter der Titel: Dmitrij Kantemir - muzykant v kontekste mirovoj kultury | ||
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Datensatz im Suchindex
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| adam_text | Dimitrie Cantemir-muzicianul în contextul culturii universale 5
CUPRINS
Lista abrevierilor......................................7
Cuvânt-înainte..........................................8
1. DIMENSIUNEA ŞTIINŢIFICĂ ŞI ARTISTICĂ
A OPEREI MUZICALE CANTEMIRIENE
REFLECTATĂ ÎN LITERATURA DE SPECIALITATE........11
1.1. Investigarea activităţii muzicale a lui Dimitrie Cantemir
în istoriografia din România şi Republica Moldova..11
1.2. Teoria şi practica muzicală a lui Dimitrie Cantemir
în literatura de specialitate universală...........32
2. DIMITRIE CANTEMIR, TEORETICIAN
AL MUZICD ORIENTALE....................................47
2.1. Consideraţii generale asupra muzicii turco-persane
(secolele VII-XVIII)...............................49
2.2. Sistemul teoretic al muzicii clasice turceşti
în concepţia lui Dimitrie Cantemir.................60
2.3. Teoria modală în concepţia lui Dimitrie Cantemir.74
2.4. Ritmul muzical ca element de expresie în teoria
şi creaţia cantemiriană...........................119
3. ARTA COMPONISTICĂ, INTERPRETATIV-DIDACTICĂ
ŞI ACTIVITATEA FOLCLORISTICĂ ÎN PREOCUPĂRILE
LUI DIMITRIE CANTEMIR..........................153
3.1. Modele de componistică muzicală
în creaţia cantemiriană...........................154
f
3.2. Arta interpretativă şi activitatea didactică.....189
3.3. Folclorul muzical în opera lui Dimitrie Cantemir.199
4. MUZICOGRAFIA CA DOMENIU DE INTERES
AL PRINŢULUI MOLDOVEI.................................215
4.1. Opera lui Dimitrie Cantemir -
sursă de cercetare organologică...................215
4.2. Dimitrie Cantemir şi muzica religioasă...........219
4.3. Muzica militară în descrierile cantemiriene......227
6 Dimitrie Cantemir-muzicianul în contextul culturii universale
5. DIMITRIE CANTEMIR-MUZICIANUL ÎN EXEGEZELE
LITERATURII UNIVERSALE.............................241
5.1. Istoriografia muzicală din secolul al XVIII-lea
despre Dimitrie Cantemir........................241
5.2. Receptarea preocupărilor muzicale
ale lui Dimitrie Cantemir în literatura universală
a secolului al XlX-lea..........................266
5.3. Fenomenul artistic Dimitrie Cantemir
reflectat în literatura universală din secolul al XX-lea ֊
începutul secolului al XXI-lea..................289
6. TRADIŢIE ŞI CONTINUITATE ARTISTICĂ
ÎN FAMILIA CANTEMIR................................315
6.1. Muzica în familia Cantemireştilor.............315
6.2. Artele vizuale în preocupările lui Dimtrie Cantemir
si ale urmaşilor săi............................332
t f
încheiere..............................................338
Bibliografie...........................................344
Discografie............................................361
ANEXAI.
Lista surselor de provenienţă a compoziţiilor muzicale
ale lui Dimitrie Cantemir şi legenda abrevierilor..367
ANEXA 2.
Tabel general al compoziţiilor muzicale ale lui Dimitrie Cantemir.. 368
ANEXA 3.
Compoziţiile muzicale ale lui Dimitrie Cantemir........375
Index de nume..........................................465
Index de termeni.......................................470
Summary................................................485
Резюме
489
Dimitrie Cantemir muzicianul în contextul culturii universale 465
INDICE DE NUME
A
Abd al-Kadir (Abdülkadir) ֊ 54, 306
Abdallah Hîdr bin-i - 55
Abdül-Baki Dédé - 294, 306
Abu al-Hasan Aii Ibn Näfi (Ziryab) - 51
Adascăliţei, Vasile ֊21, 344
Ahmed al III lea ֊ 64,260, 269,279, 281, 293
Ahmed al IMea ֊ 206, 269, 279, 281, 293
Ahmed Edirnei ֊154
Ahmed Kîemani - 47, 195, 196, 298, 303
al-Amului - 54
Alberti, Leon Battista ֊ 335
al-Dîn Jämi (Abd al-Rahmân ibn Ahmad
Nür) ֊ 159, 161
al-Djurdjănl - 54
Alexandru, Tiberiu ֊ 24, 48, 170, 172, 223,
318, 344
al-Färäbl (Abu Nasr Muhammad;
Alpharabius) ֊ 52, 63, 66, 70, 71, 117, 119,
120, 159, 160, 196
al-Hallăj (Husayn Ibn Mansür) - 122
Ali Ufki (Ufkî Bey) ֊ 40, 60, 306
al-(el-) Isfahanı (al-Faraj) - 50, 159
al-Katib (Unus) ֊51
al-Kindi (Yusuf Ishak) ֊ 51, 52, 63, 70, 196
al-Ladiki (Abdul Hamid) ֊ 55
al-Masudi (Abul Hasan) - 159
al-Mawsili (İbrahim) - 50
Amiconi, Giacomo (Jacopo) ֊ 322, 325, 335
Angeli, Tanburî Koca ֊ 47, 195, 196, 298,
303, 335
Antonie ֊ 220
Arel, Hüseyin Sadeddin ֊ 112, 477
Aristide ֊ 50
Aristide Quintilian ֊ 158, 344
Aristotel - 50, 157, 344
Aristoxen (Aristoxene, Aristoxenos din
Tarent) - 31, 50, 157, 158
Aş-Shirazi ֊ 160
Ayangil, Ruhi - 188
B
Bach, Johann Sebastian - 63
Baiazid al II-lea - 55
Bakfark, Valentin (Bálint) - 302
Bantâş, Ana ֊316
Bantâş-Kamenski, Dmitri N. ֊ 277, 287
Bardakçı, Mehmed Célebi ֊ 197, 299
Bârbuceanu, Valeriu ֊318, 344
Bârbulescu, Mihai ֊317, 344
Beauvarlet, Jacque-Firmin ֊ 336
Becker, Felix - 316, 357
Behar, Cem ֊ 245
Bekji Mustapha ֊ 256
Beleaiev, Victor ֊ 294, 295, 296
Bernardi, Francesco - 325
Bertolli, Francesca - 320
Bertug, Selamı ֊ 224, 344
Beşiroğlu, Şehvar - 180
Bobowsky, Albert (Wojciech) ֊ 40, 60, 306
Boethius, Severinus (Anicius Manlius) - 72
Bonfiniu (Bonfinius) ֊201
Brâncuşi, Petre - 22, 23, 60, 170, 344
Breazul, George - 22, 29, 170, 172, 173,
299, 345
Broschi, Carlo ֊ 325
Bucşânescu, Iordachi - 216
Buhürî-zade Mustafa Itrî ֊ 303, 306
Burada, Teodor T. - 11, 12, 13, 18, 66, 166,
167, 170, 172, 190, 191, 216, 237, 246, 279,
299, 318, 346, 367, 465, 483
Büsching, Anton Friedrich - 248, 257, 345
Byron, George ֊ 268
C
Cacavelas, Ieremia ֊ 47, 195, 219, 296, 297,
303, 332, 334
Caffarelli (Castratul) ֊ 320
Calimachi, Grigorie - 230
Calinic al Il lea ֊ 225
Can, Halil ֊ 178
Cantacuzino Stolnicul, Constantin - 201
Cantacuzino, Şerban - 286
Cantemir, Antioh (fiúi) ֊ 287, 296, 305,
323, 325-327, 329, 335, 344, 347
Cantemir, Antioh (fratele) ֊ 234, 316
Cantemir, Constantin - 47, 199, 296, 315-
318, 330, 334
466 Dimitrie Cantemir-muzicianul în contextul culturii universale
Cantemir, Maria ֊ 319, 320,321, 335,336,356
Cantemir Goliţân, Smaragda-Ecaterina ֊
321, 322
Cariofil, Ralachi - 225
Carp, Neculai - 216
Casandra (Cantacuzino) - 334
Castellan, Antoine-Laurent (Louis) - 268,
269, 347
Căianu, loan (Kajoni János; Ioannes
Caioni) -184, 302
Cârstea, Cornelia - 325, 327, 335, 347
Ceaicovschi, Gleb - 30, 347
Celebi Bardakçı Mehmed - 197, 299
Çelebi, Evliya (Célebi, Evlia; Evliya-yı
Gülşenî) - 117, 232, 297, 347
Célebi, Latif (Latif Ktelebi) - 64, 197, 260
Celebico - 196
Cellini, Benvenuto - 335
Cemil Bey Tanburi (Cemil Bey Tanbûrî) -127
Chabert, Sieur - 170, 224
Choron, Alexandre Étienne - 267, 268, 347
Chrysanthos de Madytos - 275, 276, 347
Ciobanu, Gheorghe - 19, 20, 174, 175, 178,
347, 348, 367, 374
Ciobanu, Ştefan - 318, 348
Ciortea, Iacob - 16, 17, 76, 178, 348
Clairon - 336
Clementi, Muzio - 322
Cojocaru, Dragoş - 320, 356
Comişel, Emilia ֊21, 205, 207-210, 348
Condoidi, Anastasie - 63, 323
Cosma, Octavian Lazăr ֊ 12, 22, 23, 63,
167, 168, 170, 348, 349
Cosma, Viorel - 14, 16-21, 24, 60, 61, 166,
170, 190, 191, 193, 204,211,216,217,219,
225, 241, 247, 262, 296, 303, 307, 346, 348,
349, 367
Costin, Miron - 201, 205, 317
Costin, Nicolae - 192, 201, 233, 237,317,349
Couperin, François - 63
D
Damon - 156
Deletant, Dennis - 317, 344
Davul Ismail Effendi (Davoul Ismail
Effendi; Daul Ismael Efendi) - 64, 191, 260
Democrit - 220
Derjavin, Gavriil R. - 187
Derviş Ömer - 154
Donici, Alexandru - 327, 344, 349
Dosithei al II - 317
Dragnev, Demir ֊318, 349
Drâghici, Manolachi - 216
E
Eddin Mawlana Jalal - 222
Eker, Süer - 24, 25
el Rumi „Grec” - 222
Emirgün Oglu (Emiürgjün Ogli) - 256
Erdebil, Arif - 188
Estevan, Pedro - 181, 182
Eşanu, Andrei - 29, 336, 349, 352
Euclid - 50
Ezgi, Suphi ֊ 112, 178
F
Farinelli ֊ 325
Fayolle, François-Joseph-Marie - 267, 268,347
Feldman, Walter - 35, 36, 197, 223, 350,466
Ferriol, Mr. de - 169-171, 173, 224, 260
Fétis, François Joseph - 278-280, 299, 350
Florescu, Florea Bobu - 21, 200, 350
Fochi, Adrian - 21, 22, 200, 201, 205, 207,
211,350
Fomin, E.I. - 325
Fomin, S. - 44
Fontenelle, Bernar le Bovier de ֊ 323
Fonton, Charles - 166, 245-247, 273, 280,
281, 351
Forkel, Johann Nikolaus - 262-264, 266,
273, 351
Fotino, Dionisie - 216, 237
François, Langlois - 315
Friedrich al Il-lea - 265
G
Gaillard, Robert - 336
Gaster, Moses - 291
Gazi Giray Han ֊ 40
Gazimihal, Mahmut Ragıp - 237
Gerber, Ernst Ludwig - 31, 264-268, 351
Gheorgachi (Logofatul) - 230, 237
Dimitrie Cantemir-muzicianul în contextul culturii universale 467
Ghica, Gheorghe - 234
Ghilaş, Victor ֊ 41-43,196,216, 224,351-353
Ghinoiu, Ion - 208, 353
Ghircoiaşiu, Romeo - 14, 16, 17, 22, 353
Gluck, Christoph Willibald von - 28, 173
Goliţân, Dmitri Mihailoviči - 321, 322, 330
Golovkin, Mihail Gavrilovici - 326
Gonsales, Domingo (Domingos
Gundisalvus) - 160
Gregori, Carlo (Gregorio) - 336
Guasco, Ottavio - 322
Guido dÄrezzo (Guido Aretino) - 72
Gulam Arabul - 268
Gümeriç, Şefik - 112
Güngör, Hakan - 181, 182
H
Hafiz Post ֊ 303
Hamparsum (Baba Hamparsum;
Hamparsum Limociyan) - 41, 178, 266,
371-373
Handel, Georg Friedrich - 63, 320, 325, 326
Hasan Djan - 154
Hemdemi Solak-zade - 154
Hitchins, Keith - 317, 344
Hodjah-Moucycah - 268
Hodoşiu, Ios(if) - 61, 196, 197, 202, 218,
221,227, 236, 238, 346
Horányi [Ferenc Jozsed Elek], Alexius -
250-252, 354
Hrisant Notaras - 225
Huyssen, Heinrich - 243
I
lacomi - 219
Iampolski, Israel - 298
Ibn Giami - 50
Ibn Khaldun (Abd al-Rahman) - 196
Ibn Mahmud al-Armili - 159
Ibn Mas ud Shirazi Imad al-Din Mahmud -
159
Ibn Misiah - 50, 70
Ibn Ruşd (Averroes) - 160, 196
Ibn-Sina (Avicenna; Ali Ebn Sina; Abu Ali
al-Huseyn Ibn Sina) - 53
Ilinski, Ivan - 225, 333, 334
Ivanov, Leonte - 320, 356
K
Kedrenos - 201
Kohl, Peter - 225
Kutb-i Nayi - 154
L
Lemny, Ştefan - 24, 354
Leris de la Tude, Gaire- Josephe-Hippolyte -
336
Lichtenthal, Pietro - 274, 275, 354
Locusteanu, Nicodim - 333, 346
Lulli, Jean-Baptiste - 245
M
Macpherson, James - 336
Majorano, Gaetano - 325
Mandoli - 178
Marsigli, Luigi Ferdinando - 237
Matinski, Mihail Alexeevici - 325
Mavrocordat, Alexandru - 234
Mavrocordat, Constantin - 234
Mavrocordat, Nicolae - 234
Mayer, Friedrich Christoph - 334
Mehmed al IV-lea (Mahomed al IV֊lea) - 260
Mehmet Fatih Sultan Khan - 229
Meletie de Arta - 195, 219
Meninski (Francisci â Mesgnien) - 273
Mihaii(ovici), Paul - 315
Mihail, Zamfira - 315
Milescu Spătarul, Nicolae - 317
Monteverdi, Claudio - 63
Moore, John Weeks - 283, 284, 354
Mouradian, Gaguik - 182
Mozart, Leopold (Johann Georg) ֊ 322
Mozart, Wolfgang Amadeus - 28, 29, 170,
172, 173, 237, 299, 321, 322, 345, 356
Müller, Gerhard Friedrich - 248
Murad al II-lea - 55
Murad al IV-lea - 256, 257, 260, 274
Muzaffer - 154
N
Najm ad-Din Kavkabi - 159
Nasreddin Kamalenddin - 119
468 Dimitrie Cantemir-muzicianul în contextul culturii universale
Nastratin Hogea - 202,
Nayi Osman Dédé - 36, 293, 294, 303
Naşir Abdülbaki (Nâsir Abdül-Baki Dédé) -
294, 306
Neculce, Ion - 191, 192, 201, 233, 315, 316,
317,318, 355
Nédjib Paşa - 290
Nedyalkov, Nedyalko - 182
Nefi-oghlu - 220
Nefirî Behram (Behrâm) - 154
Negruzzi, Constantin ֊ 327, 344
Nikitin, Ivan Nikitici - 320, 335
Nikitin, M.G. - 306
Nourse, Jean - 335, 336
Nova (Harutin) Sayat - 36
O
Odobescu, Alexandru Ioan ֊ 237
ďOhsson, Ingnace de Mouradja
(Murad Ohsoniyan) - 261, 262, 273, 354
Olahus, Nicolaus - 201
Ollănescu (-Ascanio), Dumitru C. - 237
Orgelbrand, Samuel - 225,284,285, 350, 356
Orosius ֊201
Osman-Efendy (Osman Effendi) - 269
Osman Gazi Bey - 228
Osman Paşa ֊154
Ossorio - 325
Otto, Jan ֊ 286
Özel, Özer ֊188
P
Panagiotis G. Kiltzanidis - 178
Pann, Anton ֊ 19, 20, 140, 175, 177, 178,
184, 185, 191,348, 355, 363
Papacostea, Şerban ֊317, 344
Paşcanu, Alecu ֊216
Paşkevici, Vasili Alexeevici ֊ 325
Păun, Octav ֊21, 355
Peride - 157
Peristeli, Iancu ֊216
Pescetti, Giovanni Battista ֊ 325
Petre Cercel - 232
Petrescu, Nicolae - 21, 355
Petrescu, Paul - 318, 356
Petru cel Mare (Petru I) - 147, 225, 235,
278, 288, 304,319, 322, 335
Philodèmus din Gadara - 158
Pi t agora ֊ 50
Platon ֊157
Pop, Dumitru - 21, 355
Pop, Emil ֊ 243, 245, 355
Popescu-Judetz, Eugenia - 14, 15, 36, 49,
50, 55, 60, 65, 66, 71, 76, 77, 85, 122, 140,
146, 153, 154, 222, 225, 334, 344, 346, 347,
355, 358, 367, 368-374
Popovici, Doru - 16, 17, 355
Pórpora, Nicolo (Antonio Giacinto) - 325
Posluşnicu, Mihail Gr. ֊ 22, 23, 356
Preda Stambol - 201, 203
Prosianova, Tatiana N. ֊ 280
Psonis, Dimitri ֊182
Ptolemeu - 50
Purcell, Henry - 63
R
Ralaki Eupragiote - 197
Rameau, Jean-Philippe - 63
Reaboşapca, Ludmila ֊ 30, 356
Reichardt, Johann Friedrich ֊31, 265, 266
Reinhard, Kurt ֊ 305, 306, 309
Rictiolus ֊201
Roettiers, Jean-Charles ֊ 336
Romberg, Bernhard - 173
Rouschitzki, François - 30, 174, 353
Rousseau, Pierre (Rousseau din Toulouse) ֊ 247
Rudakov, Vasili ֊ 287, 288
Rustam-zade, Zaur Paşa oghlu - 299
S
Saadi - 220
Sachs, Curt - 156, 356
Safi al-Din (al-Urmawi) - 40,53,54,63,66, 70
Sahkuli (Schahkuli; Shah Kuli) ֊ 256, 260,
274, 283, 292
Sandoni, Francesca Cuzzoni - 325
Sarikouyoumdjian, Haîg - 181, 182
Savall, Jordi ֊ 181, 182, 185
Scarlatti, Alessandro - 63
Schenk, Erich ֊ 172, 173, 299, 356
Scholes, Percy Alfred - 301, 302, 355
Senesino - 325
Dimitrie Cantemir muzicianul în contextul culturii universale 469
Senik (Sinik) Mehmed ֊ 197, 299
Sextus Empyricus - 158, 159
SigneU, Karl L. - 39, 40, 41, 77,112,113, 356
Sivori, Franco - 232
Socrate - 157
Sokolovski, Mihail Matveevici ֊ 325
Soubies, Albert - 288, 356
Spandoniu - 220
Stoianov, Petru - 30, 31, 356
Stoica, Georgeta - 318, 356
Stokes, Martin - 309
Süleyman Kanunî (Magnificul) - 232
Sulzer, Franz Joseph - 47, 170, 172, 173,
206, 237, 252- 258, 266, 273, 317, 318, 351,
356, 357
Ş
Şah Murad (Murâd) - 154
Şăineanu, Lazar - 237
Şeikh Müsikâr - 74
Ştefan Lăcustă - 232
T
Talaat Bey, Hasan - 178
Taloş, Ion - 21, 357
Tanburi (Tanbârî) îsak - 41
Tartini, Giuseppe ֊ 245
Tastei Oglî (Taşci-oghlu) - 197, 299
Tcaci, Zlata - 188
Teodor, Pompiliu - 317, 344
Tertullian - 201
Theodoros Papa Parashos Phokevs - 177
Thieme, Ulrich - 316, 357
Tkaci, Efim - 26, 27, 30, 31, 44, 349, 357,
367, 368, 369, 370, 371, 372, 373
Toderini, Gianbattista - 170, 173, 191, 258,
259, 260, 261, 266, 271, 274, 278, 279, 357
Tokaç, Murat Salim - 182
Tokcan, Yurdal - 181, 182
Trubeţkaia, Anastasia - 321
Tuncel, Bedrettin - 44, 357
Tura, Yalçın - 38, 39, 154, 354, 367
Türkan, Derya - 182
T
Ţarălungă, Ecaterina - 21, 22, 333, 334, 358
U
Ucenescu, George - 184
Ureche, Vasile ֊216
V
Valenciennes, Pierre-Henri de ֊ 268
van Helmont, Jean (loan) Baptist ֊ 220, 333
van Loo, Louis-Michel - 321, 336
Villoteau, Guillaume André - 271, 272,
273, 278, 279, 358
Vivaldi, Antonio - 63, 323
Vockerodt, Johann Gotthilf - 334
Voltaire (François-Marie Arouet) - 8, 247
Vraciu, Marina - 320, 356
W
Wright, Owen - 32, 33, 34, 78, 178, 197,
307, 358, 367 ֊ 371, 374, 465, 485
Y
Yarkin, Fahrettin - 182
Yekta Bey, Rauf (Raouf) - 12, 178, 289, 290 -
294, 358
Z
Zaharya - 41
Zamboni - 325, 326
Ziryab (vezi Abu al-Hasan Ali Ibn Nàti )
Бурада, Теодор T. - 469
Веселитский, B.B. - 330, 359
Ефимов, ILA. - 350, 359
Западов, А.В* - 350, 359
Левшинъ, Василій ֊ 334, 359
Ливанова, T. H. - 319, 320, 324, 325, 326,
330, 331, 359
Майков, Л. H. - 325, 326, 360
Орлов, О.В. - 328, 360
Райт, О. ֊ 489
Ружицкий, Ф. - 174
Стоюнин, В.Я. - 330, 359
Федоров, В.И. - 328, 360
Фельдман, В. - 490
Фомин, С.В. - 44, 316, 320, 321, 331, 335, 360
Штейнпресс, Б.С. - 322, 360
Штелин, Я.Я. - 320, 360
470 Dimitrie Cantemir-muzicianul în contextul culturii universale
INDICE DE TERMENI
A
abbasid (califat) - 50
abbasizi (dinastie de califi) - 228
acatalectic (vers) ֊ 151, 171
acem (mod, sunet, treaptă) - 28, 67, 75, 78,
79, 85, 86, 92, 94-96, 101, 105-108, 114-
116, 118, 161
acem aşîrânî (mod, sunet) - 67, 78, 79,106,
115, 116, 118
acembüselik (mod) - 106, 118
acem tarab (mod) - 28, 118, 166, 173, 362,
364, 365, 373, 446, 449
acem yegâhı (structură modală derivată) -
106, 116, 363
acem-büselik (structură modală derivată) -
106
acustic, acustică - 16, 18, 24, 52, 54, 57, 65,
70, 71, 75, 80, 89, 90, 105, 147, 149, 150,
162, 190-192, 239
adagio ֊145
aerofone (instrumente) - 237, 238
agâtî (cântec funebru) - 56
aghaze (glas, treapta iniţială) - 74, 80, 81,
90,91,93-110, 113-117
ağır düyek (ritm) - 126, 365, 372,
aksak (ritm) - 128
aksak semâ’î (ritm) - 126, 128, 165, 192,
362-365, 371-374, 407, 410, 434, 435, 437-
439, 441-443, 445, 449, 452, 453, 457-459
al’ud (instrument muzical) - 50, 51, 54, 58,
59, 66, 70, 190
alăutari - 204,217
alăută - 211, 217
alem (steag) - 232, 233
alia breve (timp grav) - 143
alia breve a cappella (timp grav) - 143
allegretto - 188
allegro - 145, 188
allemanda - 323
alteraţie (sonoră) - 92, 94
al-wusta (sunet) - 73
ambitus melodic - 20, 56, 91, 92, 96, 97,
100, 102, 295
amfibrah (ritm, picior metric) - 124-126, 138
anacreontic (vers) - 178
anapest (ritm, picior metric) - 132, 141,
142, 144
ancii - 326
antibahic (ritm, picior metric) - 128
apogiatură (ornament) - 56
ardeleana (dans) - 128
arhitectonică (formă) - 57, 145, 150, 163-
166, 178
arhitectură - 166, 271, 283, 285, 288, 309,
332, 333, 335
Aria Dervişilor - 12, 20, 28, 154, 170, 173,
224, 299, 351,374, 460
ars cantus mensurabilis (figurális) - 54, 142
arsis (timp metric nonaccentuat) - 143,
144, 152
arzbar (mod) - 76, 86
asker (soldat, armată regulată) - 227
aşîrânî (mod, sunet) - 67, 78, 83, 86, 93,
108, 116, 118
autofone (instrumente) - 237, 238
âvâzât (moduri complementare) - 53
Dimitrie Cantemir-muzicianul în contextul culturii universale 471
ax (pivot) melodic - 80-82, 91-110, 113-
118, 149
axa cercului - 93, 95
axion (imn bisericesc de slavă „Vrednic
este”) - 226, 227
âyîn-i şerif (spectacol ceremonial al
călugărilor mevlavî) - 222
B
baba tahir (mod) - 76, 86, 94
baglama (instrument muzical) - 58, 59, 184
baladă ֊ 206
bandură - 319, 331
barbitos (instrument muzical) - 330
baroc - 16, 18, 187
bas contrapunctic - 170
bas general - 321
basit (secţiune a formei muzicale) - 51
baş-ciauş (comandant de ceauşi) - 231
bâyatî (mod, sunet, tetracord, pentacord)
- 34, 67, 75, 85, 98-100, 105, 114, 135, 163,
164, 168, 368, 377, 378
belcanto - 320
bendyr (instrument muzical) - 184
berefşan (ritm) - 121, 122, 130-133, 140,
141, 146, 164, 276, 361-364, 368-371, 376,
379, 382, 385, 390, 395, 413, 414
beste (piesă vocală) - 12, 38, 57, 93,120,132,
154, 164-166, 231, 371, 374, 409,410,460
bestekâr (compozitori) - 60
bestenigâr (mod) - 75, 86, 104, 105, 361,
362, 368, 379
beşlisi (pentacord) - 77, 87, 89
o
binar (ritm) - 69, 119, 120, 125, 127-130,
134, 143, 144, 152
bizantinolog, bizantinologie - 20, 225, 347
bocet - 205, 210- 212, 225
bongos (instrument muzical) - 184
boruxeni (trompetişti) - 236
bozlak (cântec liric de dragoste) - 56
breves (unitate ritmică primară în prozodia
antică) - 51
brevis - 124-130, 132-138, 140-144
brevis cu punct (valoare temporală în nota-
ţia mensurală) - 69
broderie (ornament) - 56, 236
bucium - 209, 211,217
buffa (operă) - 325
bürk (burcă) - 232
büselik (mod, sunet, tetracord, pentacord) -
53, 57,67,75, 78, 79,83, 86-97,101-109,111,
113,114-116,161,164,186, 361-365,368,381
büselik aşîrânî (mod) - 86, 91, 164, 361,
364, 368, 371, 372, 374, 382, 413, 414, 434,
435, 453
büyük muhammes (ritm) - 164
buzuki (instrument muzical) - 184
büzürk (mod) - 53, 75, 86,107, 108, 161,
361,369, 385
C
cadâneasca (dans) - 231
cadenţă - 34, 80, 82, 83, 94, 113, 126-128,
131, 134, 137-139, 144, 149
cadiu (judecător musulman) - 221
calenda - 203, 254
cantată - 63
cântec de lume - 19, 174, 175, 177
cantemirologie muzicală - 10, 27
472 Dimitrie Cantemirmuzicianul în contextul culturii universale
cantor ֊ 178, 226
cantus planus - 82
capriciu (caprice) - 171
capuchehaie (agent diplomatic) - 64, 192,
197, 234
capugibaşa (delegat, trimis al sultanului) -
234
caraghioz (personaj comic) ֊210
çargâh (mod, sunet, tetracord, pentacord)
- 67, 73, 75, 78, 79, 83, 85, 87-90, 93, 94,
97-99, 103, 105, 106, 108, 113-115, 118,
374, 460
çargâh acem (mod) - 106, 118
catalectic (vers) ֊178
catharsis - 158
caval-47, 182,317,318
căluceni (căluş, căluşari) - 22, 206-208,
211,212, 254, 255
celulă (muzicală) - 35, 120, 125, 130, 132-
135, 137, 138, 143-145, 152, 174
çenber (ritm) - 121, 134, 135, 146, 368,
377, 378
çeng (instrument muzical) - 179
cent (unitate de măsură a intervalelor mu-
zicale) - 57, 76
cherache (mantie de ceremonie) - 231
chilat (caftan) - 192
chindia (chindia valahă) - 229, 231
chiraleisa - 22, 209, 211, 212, 254
chitară - 184
çıkıcı (progresie melodică ascendentă) -
90, 92-97, 102, 109, 117
çıkıcı-inici (progresie melodică ascenden-
tă-descendentă) - 90, 94, 96, 99, 101, 104-
106, 110, 114
inici-çıkıcı (progresie melodică descenden-
tă-ascendentă) - 90, 103, 108
cimpoi (cin(m)poi) - 203, 211, 217
citat muzical - 167
ciumilitură - 210
clavecin - 63, 330, 331
clavicord - 319-321
clopote, clopoţei - 184, 210, 218, 227, 237
cobză - 184,211,217
colind, colindă - 128, 203, 210-212, 253, 254
coma (microinterval) - 54, 57, 67, 71, 72,
76, 92, 92, 109
comedie - 42, 210, 324
componistică (muzicală) ֊ 9,23,27,29,34,36,
77, 81-83, 85,89,93,106,110,118,150,153-
155, 163, 165,178, 189,212,213, 224,242, 246,
294, 297, 303, 309, 322,325, 338,339
conacci-baş (administrator de reşedinţă al
vizirului) - 231
consonanţă - 36, 71, 147, 227
contrapunct - 170, 172
cordofone (instrumente) - 59, 184, 217,
218, 238
corul ienicerilor - 28
eretic ((ritm, picior metric) - 128, 130, 140
cromatice (moduri) - 61, 66, 74, 82, 95, 98,
99, 104, 149
ciibbe (robă) - 236, 237
cununie - 205, 208
cura (instrument muzical) - 58, 59
D
dabulhanea - 229
dactil (ritm, picior metric) - 126, 127, 129,
132-135, 137, 138, 140-144
Dimitrie Cantemir-muzicianul în contextul culturii universale 473
daina - 255
dairea (instrument muzical) - 231
danţ - 205
darabukki (instrument muzical) - 231
darbeyn (ritm) - 121, 123, 139141, 146,
164, 276, 369, 390
darbeyn-i cedid (ritm) ֊ 140, 141, 146, 164,
276, 361,369, 385
darb- i fetih (ritm) - 121, 143-146, 164,
166, 361, 362, 364, 370, 371, 373
darboukka (instrument muzical) - 184
daulhana - 229
davul (instrument muzical) - 59, 231
de-a mâna (dans) - 128
dervişi (călugări musulmani) - 41, 121,
170, 172, 218, 222-225, 293, 294
descântec - 201, 210, 212
destan (formă poetică) - 55
destar (stofa subţire) - 237
devr (perioadă ritmică) - 122
devr-i kebîr (ritm) - 121, 129, 136, 137,
140, 141, 146, 164, 276, 289, 361, 364, 370-
372, 385, 394, 399, 403, 404, 431
devr-i revân (ritm) - 121, 123, 129, 130,
146, 164, 362, 363, 368, 381
diapazon (ambitus) - 97, 98, 191
diastematică (intervalică) - 77, 90, 98
diatonice (moduri) - 61, 95, 115, 295
diazeuxis (asociere sonoră disjunctivă) - 77
didactică muzicală - 8, 189, 193, 196-198,
242, 263, 338
dik acem aşîrânî (sunet) - 78, 79
dik acem (sunet) - 78, 79
dik büselik (sunet) - 78, 79
dik gevest (sunet) - 78, 79
dik hicaz (sunet) - 78, 79
dik hisar (sunet) - 78, 79
dik kürdi (sunet) - 78, 79
dik mahûr (sunet) - 78, 79
dik sünbüle (sunet) - 78, 79
dik şehnaz (sunet) - 78, 79
dik zirgüle (sunet) - 78, 79
dis-diapazon - 84, 96
disonanţă - 36, 147
doină - 21, 42, 43, 116, 206, 212, 255, 318
dominans tonus (centru sonor polariza-
tor)- 80
dominantă (sunet, treaptă) - 8, 82, 147
dorian, doric (mod) - 57, 116, 157, 295
dörtlüsü (tetracord) - 77
doxologie - 220
dragoman - 234, 245, 261
drâmbă - 184
drăgaica - 22, 210-212, 254
düdük (instrument muzical) - 181, 182
dügâh (mod, sunet) - 67, 73, 75, 78, 79,83,85,
90, 92, 93,95-102,104,106-109,114-116, 161
dugun (nuntă) - 202
düm (accent ritmic tare) - 124-139, 141֊
144, 152, 340, 376-379, 381, 382, 385, 386,
388-390, 392, 394-397, 399, 401, 403, 404,
407, 409-411, 413, 414, 419, 423, 424, 426,
430, 431, 434, 435, 437-439, 441-443, 445,
446, 449, 450, 452-454, 457-460
durată (muzicală) - 16, 31, 54, 66, 69, 120,
125, 126, 129-133, 135, 136, 138-140, 142,
151,262, 340
düyek (ritm) - 121, 124-127, 147, 164, 362,
365, 370, 372-374, 396, 424, 450, 454
474 Dimitrie Cantemir-muzicianul în contextul culturii universale
E
ebced (litere arabe) - 65, 69, 368-371, 374
efver, evfer (ritm) - 121, 140, 147
elegie - 42, 205, 324
epistemologie - 338, 340, 342, 466
estetică muzicală - 8, 10, 23, 52, 156, 159
etnograf, etnografie - 8-12, 16, 19, 21-24,
28, 30, 44, 48, 198-205
etnografie muzicală - 21, 30,
31, 43, 253, 338, 340, 342, 352
etnomuzicologie - 10, 20, 347
etnopsihologie ֊ 340
etos (modal) - 10, 34, 89, 127, 155-159,
161-163,213, 342
eviç (mod, sunet) - 67, 73, 75, 78, 79, 85,
92, 94-98, 101, 102, 105, 109, 111
evsat (ritm) - 121, 146
ezan (cântec canonic religios) - 220, 221
F
fagot - 184
fakire (caftan) - 192
fasıl (suită vocală şi instrumentală) - 34,
36, 57, 127, 309,310
fasilat al-munfasilât (sunet) - 72
fasilat al-ustata (sunet) - 72
fathe (ritm) - 121, 133-135, 146, 460
fer’muhammes (ritm) - 133, 140, 397
ferahveza (mod) - 57
firman (ordin emis de sultan) - 234
flaut - 184, 326, 327
fluier ֊ 47, 191, 203, 211, 217, 218, 232,
256, 329
folclor muzical - 9, 21, 23, 28, 31, 55, 56,
82, 95, 116, 199, 203, 205, 338, 342
folclor urban - 174
forme muzicale - 27, 34, 51, 57, 61, 127,
165, 166, 210, 212, 225, 299, 305, 310, 346
formulă ritmico-melodică - 28, 81, 173
frază (muzicală) - 120
freng-i fer (ritm) - 140
frenkc^in (ritm) - 121, 147
frigic (mod cromatic popular) - 95, 157
G
gamă microintervalică - 71, 77, 78, 79
gamă tonală - 71
gavotă - 323
gayru muttasl (ritm de despărţire, de sus-
pendare) - 119
gazel (formă poetică) - 166
geamparale - 231
genuri muzical-folclorice - 253
gerdaniye (mod, sunet) - 67, 73, 75, 78, 79,
85, 95, 98, 111, 117
geveşt (mod, sunet) - 75, 78, 79, 86, 369,
371, 386, 407
goţurulmiiş makamlar (moduri de trans-
poziţie) - 86
gravitaţie (sonoră) - 51, 82, 83, 92, 105,
157, 164
gravură - 48, 336
giilbank (rugăciune) - 237
giilistan (mod) - 57
guslă (instrument musical) - 330, 331
H
hadd al-awsat (sunet) - 73
hadda al-raisât (sunet) - 73
Dimitrie Cantemir-muzicianui în contextul culturii universale 475
haddat al-haddât (sunet) - 73
haddat al-munfasilât (sunet) - 73
hafif (ritm) - 146
halca (cerc de fier) ֊ 230
hane (secţiune muzicală) - 36, 127
hâne-i ewel (prima secţiune a piesei muzi-
cale) - 118
hâne-i rabi* (secţiunea a patra a piesei mu-
zicale) - 118
hâne-i salis (secţiunea a treia a piesei mu-
zicale)-118
harmonie - 42
havî (ritm) - 141-146, 362, 364, 372, 430
hazayat (secţiune a formei muzicale) - 51
hazdran (baghetă cilindrică argintată) - 237
hăolitură (chiuitură) - 205, 255
heiole (idol) - 206, 210
hemiolic (ritm) - 130
heptatonic (sistem modal) - 83
heterocronii (grupări ritmice inegale) - 152
hexacordion (instrument muzical) - 257
hezec (ritm) - 121, 205
hicaz (mod, sunet, tetracord, pentacord) -
53, 75, 78, 79, 86-90, 95-97, 109-111, 114,
161
hicaz-bis (mod complementar în muzica
arabă)- 53
hicazkâr (mod) - 119
hisar (mod, sunet, tetracord) - 67, 75, 78,
79, 86, 108, 109, 118
hisar aşîrânî (mod) - 118
hizzi biiselik (mod) - 76, 86
horă - 121, 205
horezm (ritm) - 121
hronos protos (timp prim) - 131, 132, 152
hiikm (dispoziţie sonoră) - 77, 84, 85
hüseynî (mod, sunet) - 53, 67, 73, 75, 76,
78, 79, 85, 86, 90, 92, 94, 97-103, 106-109,
111, 118, 161, 162, 163, 165, 363, 364, 369,
374, 388, 452
hüseynî aşîrânî (mod) - 73, 118
hüseynî büselik (mod) - 119
hüzzam (mod) - 76, 86
hypate (lichanos) meson (sunet) - 72
hypate (sunet) - 72
hypate hypatos (sunet) - 72
I
iamb (ritm, picior metric) - 126, 127, 142
ictus (accent ritmic) - 123, 125, 126, 129-
132, 135, 152
idiofone (instrumente muzicale) - 183, 218,
237, 238
ienicer - 228, 238
ijaza (licenţă) - 196
ikindi (asfinţitul soarelui) - 233, 234
ikna (concept de ritm) - 119
iluminism - 29, 194, 247, 251, 258, 326
improvizaţie (muzicală) - 56, 163, 198, 203,
213, 308, 309,318, 322
infracromatice (moduri) - 61, 66
initialis, initium (treapta iniţială) - 80, 81, 92
interludiu - 167
intra-, interdisciplinaritate - 10
ionic (mod) - 57, 93, 157
ionic major (ritm, picior metric) - 141
irak (mod, sunet) - 53, 57, 67, 75, 78, 79,
85, 102, 161, 163, 374, 399, 454, 457
476 Dimitrie Cantemir-muzicianul în contextul culturii universale
irak rahat el-ervah (structură modală deri-
vată) - 102
irmilicul (dans) - 231
ischimle-agasî (însoţitor turc) - 233
isfahân (mod) - 53, 57, 75, 86, 104, 161,
365, 369, 389
isfahân-cedid (mod) - 104, 372, 419
islamceauş (tambur-major) - 237
ison - 82
istoria muzicii - 20, 148, 262, 264, 288, 292,
294, 296,310,312,314
istoriografie (muzicală) - 10, 11, 17, 60, 65,
241,, 253, 257, 266, 299,313
izocronie - 121, 131, 152
î
înălţime sonoră (intonaţie) - 80
J
jazz - 186
jocuri cu măşti - 212
joimăriţa - 210, 211
K
kaba dik hisar (sunet) - 78, 79
kaba hisar (sunet) - 78, 79
kaba nim hisar (sunet) - 78, 79
kadri (călugări musulmani) - 255
kant (specie a cântecului plurivocal rus) - 323
kanun (instrument muzical) - 58, 59, 127,
179, 181, 182, 188
karar, karargâh (treaptă finală) - 80-83, 90,
91, 93-110, 113.117, 149
kârdânia (mod complementar în muzica
arabă) - 53
keman (instrument muzical) - 216, 231,280
kavuk (fes, turban) - 236, 237
kemân9e (instrument muzical) - 47, 58, 59,
127, 179, 182
khânende (vocalişti) - 60
khorasanî, khorsanî (mod) - 75, 76, 86
kiar (piesă muzicală) - 57, 164
kirik hava (stil muzical) - 56
kîraat (lectura solemnă a Coranului, în
care predomină recitativul) - 222
kobuz, kopuz (instrument muzical) - 59,179
koşma (formă poetică) - 55
kiidum (instrument muzical) - 59, 179
kurdili hicazkâr (mod) - 119
kiirdî (mod, sunet, tetracord, pentacord) - 78,
79,87-89,96-99,101,103-105,108, 114,116
kutb-i daire (centru sonor polarizator, ax
central) - 80-82,90,91,93-110,113-117,149
kiivaşî (mod complementar în muzica ara-
bă) - 53
L
lăută - 51, 308, 330
legenda - 201, 202, 212, 214
lichanos (sunet) - 72
lidic (mod) - 115, 116, 157
liră-42, 211,217
liturghie - 208, 227, 288, 316
logodnă - 208, 209
longa, longae (valoare temporală în notaţia
mensurală) - 51, 124-130, 132-138, 140-
144, 152
lymma (semiton diatonic) - 54
Dimitrie Cantemir-muzicianul în contextul culturii universale 477
M
mahûr (mod, sunet) - 67, 75, 78, 79, 86,
113, 164, 369, 390
makam (mekam, maqâm) - 34*36, 39-41, 50,
53, 57, 62,74, 76, 77, 86, 87, 89, 90, 95-100,
109,110,112-116,118,140, 149, 161, 197,
213, 223, 257, 308-310, 339, 350, 356, 358
mandolă (instrument muzical) - 184
manele - 216, 231
mani (creaţie muzicală) - 51
mansur (instrument muzical) - 218
marama (dans) - 231
mascara (măscărici) - 210
maye (mod) - 75, 86
mărănghiile (dans) - 231
măsură (muzicală) - 74, 120, 127, 128, 130,
131, 134-136, 145-147, 152, 224, 255, 257
mehter (muzician, fanfară militară) - 228,
229, 231,233, 236, 237
mehterbaş (conducătorul muzicanţilor) -
231,237
mehterhanea (fanfară militară) - 229, 230,
232-234, 236-240
mekhale(i)f’irak (mod) - 76, 86, 102
melismatică - 56, 246
melografie - 72
melopeic - 255
melos - 56, 57, 167, 168, 188, 198
membranofone (instrumente) - 124, 184,
218, 237, 238
menuet - 321, 323
mertebe (gradaţie de măsură a ritmurilor)
- 146
mese (sunet) - 72
metabol - 118, 132
metrică (muzicală) -119, 120, 126-128, 131,
132, 135, 136, 138, 145, 165, 178, 258, 340
microinterval ֊ 34, 54, 57, 70, 71, 77-79,
150, 296
microtonii (intervale) - 56, 57, 77, 82, 84,
90, 150, 198
minima (unitate temporală mică în notaţia
mensurală) - 69, 142
mirelem-aga (comandantul ostaşilor care
purtau grija steagului profetului) - 232
miskal (instrument muzical) - 179
mixolidic (mod) - 157
mod armonic - 90
modulaţie (modală, tonală) - 34, 36, 85, 86,
105, 112, 118, 164, 308, 309
moduri compuse - 75, 86, 101, 105, 106,
108, 110
moduri de modulaţie - 86
moduri diastalice (excitante, deschise) - 158
moduri infraoctaviante - 103
moduri închipuite - 75, 86
moduri medii (calmante, liniştitoare) - 158
moduri melodice - 27, 34, 36, 76-78, 85,
104, 114, 115, 122, 149, 150
moduri simple - 75, 86, 90, 151
moduri systalice (triste, deprimante,
strânse) - 158
moharracat (secţiune a formei muzicale) - 51
molos (ritm, picior metric) - 129,133-138,140
monocord (instrument muzical) - 193,
218, 360
monodie (concept), monodie ֊ 36, 50, 56,
62,89, 227
monofon - 83, 149
morişcă (instrument muzical) - 184
478 Dimitrie Cantemir-muzicianul în contextul culturii universale
motet ֊ 63
motiv (melodic) - 34, 74, 120, 147
muezin (preot musulman) - 220, 222, 224
müfred makamlar (moduri simple) - 86, 90
muftiu (şef al unei comunităţi religioase
musulmane) - 221
muhammes (ritm) - 131-133, 140, 146,
164, 361-364, 369, 371, 392, 409
mukhayyer (mod, sunet) - 67, 75, 78, 79,
85, 95, 98-101, 113, 161, 361-364, 369, 392
mukhoyyer al-hüseyn (mod complementar
în muzica arabă) - 53
mülazâme (refren) - 36
mürekkeb makamlar (moduri compuse) -
86, 96
müstamel (structură modală) - 85
muttasl (ritm de legătură, de prelungire) -119
muwaşşah (piesă muzicală) - 51
muzica ienicerilor - 229, 234, 237
muzică bisericească - 225, 267
muzică bizantină - 47, 82,185, 219, 225, 275
muzică de oaste -201, 211, 218, 227
muzică elină - 155
muzică gregoriană - 47, 219, 297
muzică hindusă - 77, 121, 155, 163
muzică militară - 227-229, 234, 235, 238,
239,353
muzică ostăşească - 236
muzică post-bizantină - 275
muzică religioasă - 219, 220, 222, 226, 227
muzicografîe - 8, 9, 23, 61, 215, 238, 341
muzicologie - 9, 10, 14, 16, 20, 21, 24-27,
29, 35, 38, 44, 47, 50, 61, 76, 89, 148, 162,
170, 172, 206, 213, 215, 223, 239, 247, 254,
266, 267, 271, 291, 298, 308, 313, 318, 319,
342-344, 347, 348, 351, 353
N
na temân perde (moduri ale jumătăţilor de
ton) - 85
naat, naat (imn religios la musulmani) -
223, 224
naghme (motiv muzical) - 77
nai-31, 256, 280, 329
nakiş (piesă muzicală) - 57, 164
nakkare (instrument muzical) - 179, 232
nakkas (pictura florara) - 333
nakş (arta picturii) - 332
namaz (rugăciunea musulmanilor) - 220
naqqăra (instrument muzical) - 59
naşibur (mod) - 86
naşid (recitativ) - 51
nauruz (mod complementar în muzica
arabă) - 53
nawba, nuba (sistem modal, suita orientală
veche) - 51, 146,163, 167, 310, 369, 389
nazîre (imitaţie muzicală) - 146, 163, 167,
369, 389
năframa (dans) - 231
nei, ney (instrument muzical) - 43, 58, 59,
163, 179, 181, 182,188, 190,191, 216, 218,
223, 224,232, 276, 280, 298
nete (sunet) - 72
nete hyperboleon (sunet) - 72
neubet, nóbet (piesă muzica-
lă instrumentală) - 231, 233
nevâ (mod, sunet) - 53, 57, 67, 75, 78, 79,
83, 85, 92, 94-99, 103,109,113-118, 161,
163, 164, 192, 362, 372, 423, 437
nihâvend (mod, sunet) - 57, 67, 76, 96, 114,
115, 289, 290, 358, 361, 371, 373, 404, 409,
Dimitrie Cantemir muzicianul în contextul culturii universale 479
410, 438
nihâvend-i kebîr (mod) ֊114
nihuft (mod complemetar în muzica
arabă) ֊ 53
nikriz (mod) ֊ 75, 86, 111
nim hicaz (sunet) - 78, 79, 110
nim hisar (sunet) ֊ 78, 79
nim sakil (ritm) - 140, 146
nim şehnaz (sunet) ֊ 78, 79, 90
nim zirgiile (sunet) ֊ 78, 79
nim-devir (ritm) - 121, 146
nişabur, nişaburek (mod) ֊ 75, 105, 106
notaţie guidonică - 10, 32
notaţie lineară - 76, 224, 372-374
notaţie psaltică ֊ 19, 175, 374
notografie - 32, 39, 42, 66, 77, 148, 153,
246, 257, 263, 266, 293, 309, 339
nubet (paradă militară) ֊231
nühüft (mod) - 76, 86
O
oboi - 184, 326
octavă ֊ 34, 52, 54, 56, 57, 61, 70, 71, 75,
92, 97-101, 103, 105, 109, 117, 149, 150,
151,295, 296,312
octavă modală - 81, 86, 91-93, 98
omneyyazi (dinastie de califi) - 228
operă (gen) - 28, 63, 173, 237, 299, 320,
324, 325
oratoriu - 63, 325
oraţie - 203, 204, 208, 211, 212
organ (instrument muzical) - 42,211,217, 330
organologie - 22, 24, 51, 51, 59, 61, 170,
172, 190, 211, 215-217, 219, 223, 228, 235,
238, 239, 318, 326, 340, 342, 344
orgă - 325
orhun yazıtları (alfabetul orhon) - 228
orientalistică - 22, 342
ornament melodic - 255
oud (instrument muzical) - 181, 182, 186
oxiton - 152
P
palinodie - 42
paparuda - 22, 210, 211, 212, 254
parahypate hypaton (sunet) - 72
paramese (sunet) - 72
paranete (sunet) - 72
paranete hyperboleon (sunet) - 72
paroxiton - 152
pauc (instrument muzical) - 211, 218, 233
pedagogie muzicală ֊ 30, 43, 193, 197, 338,
339, 352
pedală armonică - 82
pençgâh (mod) ֊ 75, 86, 102, 103, 116, 163,
164, 168, 362-363, 370, 372-374, 394, 431,
439, 441, 458
pentacord - 77, 81, 86, 87, 89-111, 113-117,
150
pentacord minor - 96
percuţie, percuţii (instrumente) - 51, 59,
124, 181, 182, 186,218,219
perde (ton) - 74, 85
perfecte (tonuri) - 70, 71, 75, 85, 86, 90,
93-95, 100, 114
peri tonon (moduri antice greceşti) - 74, 157
perioadă (muzicală) - 120, 122, 132, 138
peşrev (piesă instrumentală) - 12, 28, 36, 38,
480 Dimitrie Cantemirmuzicianul în contextul culturii universale
57, 83, 91, 93, 104, 108, 112, 117, 120, 135,
146, 153, 154, 162-168, 173, 186-189, 192,
223, 231, 289, 290, 304, 361-365, 368-374,
376-379, 381, 382, 385, 386, 388-390, 392,
394-397, 399, 401,403, 404, 411, 413, 414,
419, 423, 424, 426, 430, 431, 446, 450, 454
piktides (instrument cordofon) - 330
piric (ritm, picior metric) - 130,
plaga]ă (construcţie modală) - 99
plectru - 51, 190, 218
pluridisciplinaritate - 11,31
polimetrie - 127-129, 165
polychronion (cântec de urare „La mulţi
ani!”) - 226, 227
postictus (ritm nonaccentuat) - 125, 129
preludiu - 163, 167, 223, 231
proceleusmatic (ritm, picior metric) - 129,
130, 132-138, 140, 142, 144
proslambonomenos (sunet) - 72
Q
qanun, quanun (instrument musical - 186,
232
R
rahat el ervah (mod) - 76, 86
rast (mod, sunet, tetracord, pentacord) -
31, 34, 53, 57, 67, 75, 78, 79, 83, 85, 87-89,
91-96, 103, 104, 106, 109, 111, 113-118,
161-164, 361, 363, 364, 370, 372-374, 395,
396, 424, 442, 459
rebab (instrument muzical) - 179, 182
recitativ - 51, 62, 222
rehavî (mod, sunet) - 53, 67, 75, 86, 107,
116, 117, 161, 362, 364, 372, 373, 426,443
remel (ritm) - 126, 135, 136-138, 140, 141,
146, 164, 276, 365, 369, 372, 389, 390, 419
renascentism (cultural) - 12,41, 42, 160, 342
repercusa (centru sonor polarizator, ax
central) - 80
retor - 225
ritm (muzical) - 10, 12, 14, 16, 17, 27,30,
32, 34-36, 41, 50-52, 56, 59, 61, 65, 66, 69,
74, 76, 119-148, 151-154, 157, 158, 163-
165, 168, 192, 198, 210, 213, 216, 238, 253,
257, 275, 276, 289, 294, 339, 340, 348, 351,
361-365, 368, 376-379, 381, 382, 385, 386,
388-390, 392, 394-397, 399, 401, 403, 404,
407, 409-414, 419, 423, 424, 426, 430, 431,
434, 435, 437-439, 441-443, 445, 446, 449,
450, 452-454, 457-460
ritm eterogen (asimetric) - 129, 130, 133
ritm compus ֊ 121, 123, 132
ritm simplu - 120, 132, 136, 164
ritual funebru - 22, 211
ritual nupţial - 22, 209
rusalii - 206
rustemul (dans) - 231
ruy ’irak (mod) - 76, 86, 102
S
sabâ (mod, sunet, tetracord, pentacord) -
67, 75, 85, 87, 88, 111, 162, 163
sade nahare (timpan) - 224
sakil (ritm) -137, 138, 146, 276, 363, 364,
369, 372, 386, 388, 426
sakilat al-awsat (sunet) - 73
sakilat al-haddât (sunet) - 73
sakilat al-marfruzât (sunet) - 73
sakilat al-munfasilât (sunet) - 73
sakilat al-raisât (sunet) - 73
sangeac-agasi (responsabil de marele steag
Dimitrie Cantemir-muzicianul în contextul culturii universale 481
turcesc) - 233
santur (instrument muzical) - 59, 179, 182,
211, 217
sânziene ֊ 22, 211, 222
sardonic (vers) - 328
saz (instrument muzical) - 182
sâz semâ’îsi (piesă instrumentală) - 38, 57,
127, 153, 188, 192, 362-365, 371-374, 407,
434, 435, 437-439, 441-443, 445, 449, 452,
453, 457-459
sâzende (instrumentişti) - 60
sazkâr (mod) - 108, 109, 362, 372, 430
scară diatonică - 295
scară modală - 76, 77, 96
scară muzicală (cromatică, infracromatică) -
57,61,66, 70
scară sonoră - 35, 70, 83, 86, 93, 94, 113,
117, 191,295, 296,312
sedarabân (mod) - 119
segâh (mod, sunet, tetracord, pentacord) -
57, 67, 75, 78, 79, 85, 87, 88, 95, 97, 99, 102,
105, 106, 108, 109, 111, 164, 362, 373, 450
selâm (ritual al călugărilor mevlavî) - 223,
225, 350
selat (cântec canonic religios) - 200
selgiukizi (dinastie de sultani) - 55, 228
selmek (mod) - 75, 86
semâ’î (ritm) - 120, 121
semâ’î-i harbî (ritm) - 147
semâ’î-i lenk (ritm) - 121
semâ’î-i rakks (ritm) - 147
semâ’îsi (piesă instrumentală) - 12, 38, 57,
127, 146, 153, 154, 165, 166, 188, 192, 362֊
365, 371-374
semeiografie (semiografie) muzicală - 267
semibrevis (valoare temporală în notaţia
mensurală) ֊ 69, 142
semiictus (accent ritmic) - 131
semiminima (valoare temporală) - 142
semithesis (timp metric semiaccentuat) -
142, 144
sengin semâ’î (ritm) - 126, 127, 165, 362,
364, 372-374, 439, 443, 458
sevkevez (mod) - 59
seyir (progresie sonoră) - 36, 85, 90, 92-
110, 113-117, 309
siesdar (instrument muzical) - 218
signografic (repertoriu) - 27
sinalefa (figură de stil) - 137
sinaphe, (asociere sonoră conjunctivă) -
77, 92, 150
sincopa ştearsă (nonaccentuată) - 125
singspiel - 299
sintaxă (muzicală) - 152, 178
sipihr (mod) - 107, 362, 370, 397
sistem de octave - 70, 71, 296
sistem intonaţional - 50, 80, 107, 296
sistem sonor - 34, 51, 54, 56, 57, 71, 84, 103
sistem sonor de intonaţie (temperată, ne-
temperată) - 57, 70, 71
sofyan (ritm) - 120,121, 135
someşana (dans) - 128
son peşrev (ultimul peşrev) - 223
son taxîm (piesă instrumentală interpretată
la ney sau tanbur) - 223
sonometrie - 192
spondeu (ritm, picior metric) - 124-126,
129, 130, 132-134, 136, 142, 144
stilus melismaticus - 56
482 Dimitrie Cantemir muzicianul în contextul culturii universale
strâga (superstiţie, eres) ֊ 204, 212
subsemitonum modi (interval de semiton) ֊ 84
subtonum modi (interval de ton) - 84
sufi (confrerie musulmană) - 256
sufism (misticimul musulman) - 222
sultani ’irak (mod) - 76, 86, 102, 370, 399
sultani yegâh (mod) ֊119
siinbule (mod, sunet) ֊ 67, 75, 78, 79,86,111
sunet mobil (auxiliar) - 80, 83, 99, 104, 150
sunet nucleu (central) - 80, 83
sunete naturale ֊ 52, 71
surlă-203, 211,217, 233
siizâi dil (mod) ֊119
şalvari (pantaloni lungi, largi, strânşi la
gleznă) - 236
şarki (piesă muzicală) - 57
şedd-i makamlar (moduri de transpoziţie)
-86, 112
şehnaz (mod, sunet) - 67, 75, 78, 86, 98,
107, 109, 110
şerhane (vers, unitate prozodică în beste) -
166
şesdar (şesta, siesdar - instrument muzical
cordofon) - 218, 257
şiraz (mod) - 57
şu’ba, şu’bat (structură modală sau
secţiune a makam-ului) ֊161
T
tabl (tobe) - 232, 235
tabulhanagii (membri ai fanfarei dom-
neşti) - 233, 237
tabulhanea (fanfara domnească) - 218,
229, 230, 232, 233, 235, 237-240
tabulhaned ֊ 229
taksim, taksîm, taxîm (formă liberă ca
ritm şi melodie) - 36, 57, 163, 164, 224,
231,233
tala (organizare metroritmică) - 121
talgere (instrument muzical) - 219
tambulchana, tambulhana, tambulhanea ֊ 229
tamburină (instrument muzical) - 59,184,
232
tanbur, tambur, tambură (instrument
muzical) - 14, 43, 47, 58, 59, 66, 70, 75,
127, 182, 188, 190-193, 197, 216, 223, 248,
256, 276, 280-282, 298, 308, 312, 331
tarab (stare emotivă) - 190
taraf - 211, 239
tasvir (arta zugrăvirii icoanelor) - 332
teatru ֊ 42, 238, 320, 324
tek (accent ritmic slab) - 124-137, 139,
141, 143, 145, 340, 376-382, 385, 386, 388-
390, 392, 394, 397, 399, 401, 403, 404, 407,
409-411, 413, 414, 419, 423, 424, 426, 430,
431, 434, 435, 436-438, 441-443, 445, 446,
449, 450, 452-454, 457-460
teke (accent ritmic pe jumătate tare) - 124,
128-137, 139, 141, 143, 144, 340, 376-379,
382, 385, 386, 388-390, 392, 394, 395, 397,
399, 401, 403, 404, 407, 409-411, 414, 419,
423, 436, 430, 431,434, 435, 436-438, 441-
443, 445, 446, 449, 452, 453, 457-460
temân perde (moduri ale tonurilor perfec-
te) - 85
temigd (cântec canonic religios) - 220
teoria modurilor - 54, 65, 74, 75, 150, 339
teoria muzicii - 57, 59, 65, 293, 303, 307
teoria ritmului - 36, 41, 50, 52, 339
terţă majoră - 76
terţă maximă - 76
Dimitrie Cantemir-muzicianul în contextul culturii universale 483
terţă medie -76
terţă mică - 76
terţă minimă - 76
terkîb (măsuri muzicale - 62, 74, 85, 115,
308, 309
terkîbat (construcţie sonoră) - 85, 86
ternar (ritm, valoare, divizare) - 69, 120,
126, 129, 130,134, 138, 143, 144, 152, 165
tessitură - 113
teşrih (fragmentare sonoră) - 77, 84
tetimme (subfinală) - 83
tetracord ֊ 28, 77, 81, 86-88, 90-111, 113-
117, 150
tetrapodie (metru ritmic în prozodia anti-
că) - 178
thesis (timp metric accentuat) - 133, 136,
142, 144, 152
timpan - 218, 224
tiz bâyatî (sunet) - 67
tiz büselik (sunet) - 67, 78, 79
tiz çargâh (sunet) - 67, 78, 79
tiz dik büselik (sunet) - 78, 79
tiz dik hicaz (sunet) - 78, 79
tiz hicaz (sunet) - 78, 79
tiz hüseynî (sunet) - 67
tiz nevâ (sunet) - 67, 78, 79
tiz nim hicaz (sunet) - 78, 79
tiz sabâ (sunet) - 67
tiz segâh (sunet) - 67, 78, 79
tiz’uzzal (sunet) - 67
to colon (simţ pentru frumos) - 157
tobă-217, 235
tobil (instrument muzical) - 59
tobulhana, tombulchana, tubulhana - 229,
232, 234, 235
tone-atone (silabe accentuate-nonaccentu-
ate) - 136, 137, 151
tonuri „imperfecte”- 70, 71, 85, 90
tonuri „perfecte” - 70, 71, 75, 85, 86, 90,
93, 94, 95, 100
tonuri acute perfecte - 75, 85
tonus currens (centru sonor polarizator, ax
central) - 80
trâmbiţa - 209, 217
transpoziţie - 86
„trei sferturi de ton” (interval) - 50
tremolo (ornament) - 191
tricolici - 210
tricron (ritm) - 151
tril (ornament) - 56
tripodie (vers compus din trei picioare
metrice) - 178
trite (sunet) - 72
trite hyperboleon (sunet) - 72
troheu (ritm, picior metric) - 130, 136,
140, 141, 142, 143, 144
turca - 22, 209, 211, 254
turceasca (dans) - 231
türki darb (ritm) - 121, 140, 276
türkü (formă poetică) - 55
T
ţambal - 211, 217
U
ud (instrument muzical) - 50, 51, 54, 58,
59, 66, 70, 190
ulema, ulemale (teolog şi legiuitor la mu-
484 Dimitrie Cantemir-muzicianul în contextul culturii universale
sulmani) - 49, 196
umanism ֊41, 42, 249, 342, 343
ursitoare - 210
üsküf (bonetă) - 232
usta (maestru) - 64, 192
usul (metru muzical) - 34, 61, 198
uşşak (mod, tricord, tetracord, pentacord) -
53,90-93,97,98, 100-102,104-108,113,115,
116,161, 361,370,371, 373,401,411,445
utrenie - 227
uvertură - 28, 237
uzun hava (stil muzical) - 56
uzzal (mod, sunet, pentacord) - 67, 75, 86,
95-98, 104, 105, 109, 163
V
valoare temporală (durata sunetelor) -
129,133, 138, 143,145
vecernie - 227
vergel - 209, 211
vezn-i asghar-üs-saghir (măsura ritmică
foarte mică) - 145, 146
vezn-i kebîr (măsură ritmică mare) - 135,
145, 146
vezn-i saghir (măsură ritmică mică) - 134,
145, 146
vibrato (ornament) - 191
vioară - 184, 186
viola da gamba - 181, 182
violă - 181, 182, 320
vox finalis (treaptă finală) - 80, 82
wasta al-haddât (sunet) - 73
wasta al-raisât (sunet) - 73
Y
yegâh (sunet) - 67, 78, 79, 93, 106, 107,
116, 119, 363, 364, 368, 376,
yemeni (papuci) - 237
yürük semâ’î (ritm) - 127,165,166,223,362,
363, 365,373,374,439,441,445,449,457
Z
zajal (piesă muzicală) - 51
zar-bein, zarpei (ritm) - 140, 275, 276
zencir (ritm) - 121
zengüle (mod) - 53, 75, 86, 109, 110,161,
371, 403
zengüle hicaz (mod) - 110
zeyl (codă) ֊ 164,165
zii (instrument muzical) - 218, 236
zir efkend (mod) - 75, 86
zirafkând (mod) - 53
zirgüle (sunet) - 67, 78, 79
zirgüleli süz-nak (mod) - 119
zone etnografice şi folclorice - 204
zürnâ, zurnaua (instrument muzical) - 58,
59, 232, 236
W
wasta al-awsat (sunet) - 73
Dimitrie Cantemir-muzicianul in contextul culturii universale 485
SUMMARY
Dimitrie Cantemir-the musician in the context of world culture
One of the constant and main interests of Dmitrie Cantemir was music
in its many instances of manifestation. He was a theoretician, composer,
performer of Oriental musical instruments, teacher, musicographer. As sci-
ence has shown little interest in these activities, the present study aims at a
partial recovery through a complex and, as complete as possible treatment,
of Dmitrie Cantemir’s musical achievements. The author demonstrates the
originality, value, importance and the impact in time of Cantemir’s musical
works through musicological documents aiming at the reintegration and in-
clusion of the musician’s achievements in contemporaneity.
Chapter One, Scientific dimension of Cantemirian musical works re-
flected in musicological research, includes a general analysis of the biblio-
graphic sources, which expose the degree of awareness of the problem so
far. The first subchapter, Investigation of Dmitrie Cantemir’s musical activ-
ity in the historiography of Romania and the Republic of Moldova, a critical
overview of the most important studies published in the musical literature
in Romania and the Republic of Moldova dedicated to Dmitrie Cantemir’s
musical preoccupations is undertaken. The author advocates for a histori-
cal perspective and a temporal delimitation of the approaches in the given
issue. He mentions the decreased interest of the researchers, both from
the right and the left banks of the river Prut, in the sound inheritance of the
Moldovan Prince. The first important contributions in this sense belong to
Teodor T. Burada, a scholar from Yashi, which appeared only at the begin-
ning of the XX century (1911), after which a long period of musicologists’
silence followed.
The further contributions to the Cantemirian’s topic, appeared in Ro-
mania and the Republic of Moldova, belong to the 1970s of the XX century
being developed around the debate on Dimitrie Cantemir’s musical mes-
sages through the prism of his artistic activities. The second part of Chap-
ter One, entitled Dimitrie Cantemir’s musical theory and practice in world
specialized literature is reserved to the syntheses found in specialized
world literature that have as topic the elucidation of the musical occupa-
tions of the former ruler of Moldavia. The articulations of the musicologi-
cal debate and the present stage of the research in the field are being ana-
lysed. Among the relevant contributions, those belonging to the English
researcher O. Wright are highlighted. The author undertook a reassess-
ment of the musical transcriptions included in D. Cantemir’s theoretical
treaty and transposed them into European notation, thus managing by this
486 Dimitrie Cantemir-muzicianul in contextul culturii universale
to obtain new results referring to the actual melodic content, the musical
measure system, the metric frame, in which some forms of rhythm take
place, etc. Other reflections on the given subject are contained in the stud-
ies made by W. Feldman, Y. Tura, and of the undersigned author.
In order to highlight the individuality of the scholar through the prism
of multilateral musical culture and of the theoretical inheritance, Chapter
Two of the work, entitled Dimitrie Cantemir — Oriental music theorist, re-
veals the scholar’s unique contribution to the world patrimony of the art
of sounds, extracted, first of all from the sound fund of Oriental music,
but also from that of the national music. The subchapter General con-
siderations on Turkish-Persian music (VII-XVHI centuries) aims to offer
a comprehensive understanding on the art of sounds from the Near East
and Middle East up to the XVIII century and on the coordinates that the
Moldovan Prince creates and bases his musical concepts. The theoretical
system of Turkish classical music in Dimitrie Cantemir’s conception are
brought into discussion and analysed in the following subchapter. It reveals
the historical premises of establishing Cantemir’s musical doctrine, which
served as epistemological support for scientific interpretation of the art of
sound in the Ottoman period. The invented note-graphic system is a practi-
cal tool having the value of recording and individualizing the musical cre-
ation. The core of the ideational content of the next Chapter Modal theory
in Dimitrie Cantemir’s conception is focused on and reveals the principles
underlying the basis of the modal systematics of the author, as an orderly
space in horizontal projection, in which the delimitation of sound systems
are highlighted, the concept of creation, the functions of the sounds and
their role in modal music, the construction of modal scales, the deasys-
temics of Turkish music. Another section of this Chapter focuses on the
Musical rhythm as element of expression in Cantemirian theory and cre-
ation - a component of maximum importance in shaping the musical idea
— illustrated by reference to the manner in which tempo values, musical
accents, their temporal sequence, periodicity, organization, structure and
interior dynamics of rhythmic cycles alternate. The exploitation of these
elements by Cantemir, in order to create the artistic image and the mes-
sage, bearer of ideas and sound expressions, reveals the importance of the
rhythmic element in the Turkish-Ottoman music as an energising factor of
the melodic line.
Capitalizing the expressive means of the musical art in the act of cre-
ation, performing and training took shape in the Chapter entitled Com-
positional, performing, didactic art and folklore activity in Dimitire Can-
temir’s preoccupations. The research of the first two aspects is outlined
and argued in the subchapters: Models of musical composition in the
Cantemirian creation and Performing art and didactic activity, both rep-
resenting a cumulative analysis undertaken from an Oriental perspective,
Dimitrie Cantemir-muzicianul in contextul culturii universale 487
are geared primarily toward revealing the creative skills of the musician,
his musical thinking, as well as his capacity to intellectually and emotion-
ally participate in transmitting the contents and revealing the senses of
the musical message, his applied pedagogical approach. The accumulated
data are subjected to some analyses and interpreted by several criteria
and/or dimensions: musical, ethical, aesthetic, social, educational, philo-
sophical, etc. The topic Musical folklore in Dimitrie Cantemir’s works is
tackled in a special subchapter, which completes the portrait of the scholar
with serious concerns of musical ethnography. It is worth noting, that de-
spite all harsh conditions of exile or refuge, Cantemir proves thorough
knowledge of the folklore of his country of origin, of the Oriental oral cul-
ture and even of the universal one.
The focus of Chapter IV is Musicography as a field of interest of the
Prince of Moldavia, composed of three subchapters. The first analyses
Dimitrie Cantemir’s works as a source of organology research, the second
tackles the subject Dimitrie Cantemir and religious music, while the third
debates the Military music in Cantemirian descriptions. The inclusion of
these in the table of contents of the research has significantly increased
the approach and enlarged the cognitive horizon about D. Cantemir, so
that the research on these levels of coverage, among other arguments, pro-
vides complementary elements in terms of corroboration of the complex
artistic portrait of the musician.
The part, which leaves room for axiomatic interpretation of the per-
sonality of the man with cultural-humanistic vocation, is found in the next
chapter of the study, Dimitrie Cantemir — the musician in world literature
exegeses. This section was determined by the resonance that the scholar’s
multilateral musical activity had in the writings of scientific, lexicographi-
cal, encyclopaedic, bibliographic, informative, belle letters, etc. nature,
reverberation that is still being heard. The three subchapters, Musical
historiography of the XVIII century about Dimitiré Cantemir; Reception
of Dimitiré Cantemir’s musical interests in the world literature of the XIX
century; The artistic phenomenon - Dimitrie Cantemir - reflected in the
world literature of the XX century, the beginning of the XXI century, rely
on the idea of revealing the reference frame on the presence of the musi-
cian in the publications of the time with their temporal dislocation.
Observing the chronological criterion, the fifth chapter reconstructs
and systematises, according to historical stages, analyses and comments
on the most relevant testimonials, references, considerations, receptions,
etc., written in texts of different linguistic expression on D. Cantemir’s ar-
tistic vocation. Experts from world literature are illustrating this persis-
tence in time. The summary of the reflections discussed here are found in
the conclusions at the end of the Chapter having a generalizing character,
which is natural, as long as both the concept and the contents aim at de-
488 Dimitrie Cantemir-muzicianul în contextul culturii universale
veloping not only an analytical but also a synthesis approach.
The last Chapter of the study, Tradition and artistic continuity in the
Cantemir family attempts to define the place and role of arts in the aes-
thetic and cultural education of Cantemir descendants, from which first
class intellectuals emerged. Divided into two subchapters ֊ Music in the
Cantemirs family and Visual arts in Dimitrie Cantemir’s and his succes-
sors’ preoccupations - these reveal the fact that through arts and tradi-
tion handed down from father to son, the representatives of the family in
question managed to impose themselves as elite intellectuals of several
cultures: Romanian, Russian and Oriental.
Reiterating and underlining the major points of the monography, the
conclusions drawn at the end of the study confirm the artistic valences of
Dimitrie Cantemir’s musical discourse and justify the interest for its sci-
entific research. The sum of these attitudes and efforts outline the future
perspectives of the investigated topic accompanied by the critical apparatus
originated from different linguistic sources of expression. The Cantemirian
musical creation is contained in the Annexes at the end of the work.
Translated into Enghlish
by PhD Ana Gorea
ВітНгіе Сапіетіг-тигісіапиі іп сопѣехѣиі сиНигіі ипіѵегваіе 489
РЕЗЮМЕ
Дмитрий Кантемир-музыкант в контексте мировой культуры
Одним из постоянных и главных занятий Дмитрия Кантемира была му-
зыка во всех ипостасях ее проявления. Он был теоретиком, композитором,
исполнителем на восточных музыкальных инструментах, педагогом, музы-
кографом. Поскольку наука проявляла сниженный интерес к этой деятель-
ности, автор данного исследования предполагает частично восполнить про-
бел посредством как можно более полного освещения достижений Д. Кан-
темира в области музыки, демонстрируя с помощью музыковедческих доку-
ментов и научных аргументов оригинальность, ценность, влияние во вре-
мени и значимость кантемировского музыкального наследия, а также путем
восстановления достижений музыканта и включения их в современность.
В первой главе, Отражение научной и художественной составляющей
музыкального творчества Кантемира в специальной литературе, осущест-
вляется общий анализ библиографических источников, которые раскры-
вают степень изученности проблемы к настоящему времени. В первом па-
раграфе, Исследование музыкального творчества Дмитрия Кантемира в
историографии Румынии и Республики Молдова представлен критический
обзор наиболее значимых работ в музыкальной литературе Румынии и Ре-
спублики Молдова, посвященных музыкальным занятиям Дмитрия Канте-
мира. Автор выступает за историческую перспективу, временное разграни-
чение подходов к данной проблеме, отмечая сниженный интерес исследова-
телей как с левого, так и с правого берега Прута к звуковому наследию мол-
давского господаря, поскольку первый вклад в указанном смысле принад-
лежит Теодору Т. Бурада, который был сделан лишь в начале XX в. (1911), а
затем последовало длительное молчание музыковедов.
Последующий вклад в исследование Кантемировской тематики, отра-
женный в специальной литературе Румынии и Республики Молдова, отно-
сится к 70-м гг. прошлого века. Он связан с полемикой относительно му-
зыкальных посланий Д. Кантемира сквозь призму его художественной де-
ятельности. Второй параграф первой главы, Отражение в мировой специ-
альной литературе вклада Дмитрия Кантемира в музыкальную теорию и
практику, посвящен обобщениям, представленным в мировой специаль-
ной литературе по тематике, связанной с освещением музыкальных заня-
тий бывшего господаря Молдавского княжества. В нем произведен анализ
артикуляций музыкального дискурса на современной стадии исследований
в данной области. В ряду соответствующих изысканий выделяются, прежде
всего, те, которые осуществил английский исследователь О. Райт - автор,
предпринявший попытку переоценки музыкальных транскрипций, вклю-
ченных в теоретический трактат Д. Кантемира с переложением их на ев-
490 Dimitrie Cantemir-muzicianul in contextul culturii universale
ропейскую нотацию, вследствие чего ему удалось получить новые резуль-
таты в отношении собственно мелодического содержания, системы музы-
кальных размеров, метрической структуры, в которой развиваются формы
ритмов и т. д. Другие рассуждения в связи с указанной темой содержатся в
исследованиях В. Фельдмана, Я. Тура, а также автора данной монографии.
С целью освещения индивидуальности ученого сквозь призму много-
сторонней музыкальной культуры и его теоретического наследия, вторая
глава работы, Дмитрий Кантемир - теоретик восточной музыки, направ-
лена на выявление вклада, внесенного ученым в мировое наследие звуко-
вого искусства, которое относится как к фонду восточной музыки (в пер-
вую очередь), так и нахдиональной. Для формирования как можно более ем-
кого понимания звукового искусства Ближнего и Среднего Востока XVIII
в., тех отновных положений, на которых молдавский князь базирует и раз-
рабатывает свои музыкальные концепции, предусмотрен параграф Общий
взгляд на классическую турецко-персидскую музыку (ѴІІ-ХѴІІІ вв.). Рассмо-
трение и анализ Теоретической системы классической турецкой музыки в
концепции Дмитрия Кантемира представлены в следующем параграфе, где
выявляются исторические предпосылки становления музыкальной доктри-
ны Кантемира, которые послужили эпистемологической основой научной
интерпретации звукового искусства оттоманского периода, а изобретенная
нотографическая система является практическим инструментом, важным
для записи и индивидуализации музыкального творчества. Ядро идеатиче-
ского содержания следующего параграфа сосредоточено на Модальной те-
ории в концепции Дмитрия Кантемира, раскрывая принципы, лежащие в
основе модальной систематики автора как упорядочивающего простран-
ства в горизонтальной проекции, где выделены такие аспекты, как разгра-
ничение звуковых систем, творческая концепция, функции звуков и их роль
в модальной музыке, построение модальных шкал, диасистематика турец-
кой музыки. В другом параграфе той же главы на первый план выдвигает-
ся Музыкальный ритм как элемент выражения в Кантемировской теории и
творчестве - чрезвычайно важный компонент при оформлении музыкаль-
ной идеи. Он показан через соотнесенность с тем, как осуществляется че-
редование временных величин, музыкальных акцентов, их последователь-
ность во времени, периодичность, организация, структурирование и вну-
тренняя динамика ритмических циклов. Использование Кантемиром этих
компонентов при формировании художественного образа и посыла носи-
тель идеи и звукового выражения отмечает важность ритмического элемен-
та в турецко-оттоманской музыке как энергизирующего фактора мелодиче-
ской линии.
Освоение средств выражения музыкального искусства в рамках твор-
ческого акта, исполнение и обучение рассматриваются в главе Композици-
онноеу исполнительско-дидактическое искусство и фольклорная деятель-
ность в занятиях Дмитрия Кантемира. Исследование первых двух аспек-
Dimitrie Cantemir-muzicianul tn contextul culturii universale 491
тое, обозначенных в названии главы, осуществляется и аргументируется в
параграфах Композиционные музыкальные модели в творчестве Кантемира
и Исполнительское искусство и дидактическая деятельность. В них пред-
ставлен обобщенный анализ, направленный, прежде всего, на выявление
творческих способностей музыканта, а также потенциала интеллектуально-
эмоционального участия при передаче содержания и раскрытия оттенков
смысла музыкального послания, примененного им педагогического под-
хода. Накопленные в данном отношении сведения подвергнуты анализу
и трактуются посредством соотнесенности с различными критериями и/
или параметрами: музыкальными, этическими, эстетическими, социально-
образовательными, философскими и др. В отдельном параграфе затронута
тема Музыкальный фольклор в произведениях Дмитрия Кантемира; в нем
портрет ученого дополняется сведениями о серьезных занятиях в области
музыкальной этнографии. Отмечается, что, невзирая на суровые условия
его пребывания в ссылке или убежище, Кантемир проявляет основательные
познания в области фольклора страны своего происхождения, устной вос-
точной и даже мировой культуры.
В главе четвертой в центре внимания находится Музыкография как об-
ласть интересов господаря Молдовы. Она состоит из трех параграфов: в
первом анализируется Творчество Дмитрия Кантемира - источник орга-
нологического исследования, во втором затрагивается тематика Дмитрий
Кантемир и религиозная музыка, а в третьем представлены рассуждения на
тему Военная музыка и кантемировские описания. Их включение в общий
ход исследования дало возможность усилить интерпретацию и значитель-
но расширить познавательный кругозор относительно Дмитрия Кантеми-
ра, так что исследование на этих уровнях охвата, наряду с аргументами, пре-
доставляет дополнительные элементы в аспекте подтверждения комплекс-
ного портрета музыканта.
Следующая, пятая глава - Дмитрий Кантемир-музыкант в интер-
претациях мировой литературы является той частью работы, в которой
уделяется внимание аксиологической интерпретации личности человека
культурно-гуманистического призвания. Ее содержание определено резо-
нансом, вызванным многогранной музыкальной деятельностью ученого и
нашедшим свое отражение на страницах работ научного, лексикографиче-
ского, энциклопедического, библиографического, информативного, белле-
тристического и иного характера, чьи отголоски ощущаются до настояще-
го времени. В трех параграфах данной главы, Музыкальная историография
XVIII в. о Дмитрии Кантемире·, Восприятие музыкальных занятий Дми-
трия Кантемира в мировой литературе XIX в.; Отражение художествен-
ного феномена Дмитрия Кантемира в мировой литературе XX - начале
XXI вв., проводится идея о выделении системы ссылок в связи с имеющи-
мися сведениями о музыканте в различных публикациях, с их размещени-
ем во времени. При соблюдении хронологического принципа, в этой главе
492 Оітйгіе Саійетіг-тигісіапиі іп согйехіиі сиЙигіі ипіѵегваіе
воссозданы, систематизированы и проанализированы (с комментариями)
по историческим этапам наиболее значимые отзывы, ссылки, утверждения,
свидетельства восприятия и т. д. относительно художественного призва-
ния Д. Кантемира, представленные в разноязычных текстах,. Эта устойчи-
вость во времени была проиллюстрирована фрагментами из мировой лите-
ратуры. В выводах в конце главы подведены итоги обзора приведенных раз-
мышлений и рассуждений; они носят обобщающий характер, что является
естественным, поскольку ее концепция и содержание предполагает не толь-
ко аналитический подход, но и синтетический.
В последней главе исследования, Традиция и художественная преем-
ственность семьи Кантемиров, производится попытка определить место
и роль различных видов искусства в эстетическом воспитании и культур-
ном формировании потомков Кантемира, из рядов которых произошли ин-
теллигенты высочайшего уровня. В этой главе, разделенной на два парагра-
фа ֊ Музыка в семье Кантемиров и Изобразительное искусство в заняти-
ях Дмитрия Кантемира и его потомков - подчеркивается, что посредством
преемственности в области искусств и традиции, передававшейся от отца к
сыну, представители данной семьи выдвинулись как элита в кругу интелли-
генции нескольких культур - румынской, русской и восточной.
Воспроизводя и подчеркивая основные положения монографии, сфор-
мулированные в конце исследования выводы подтверждают художествен-
ные валентности музыкального дискурса Дмитрия Кантемира и служат обо-
снованием интереса к его научному освоению. Совокупность этих устано-
вок и усилий намечает будущие перспективы исследуемой тематики, с по-
следующим критическим аппаратом, проистекающим из разноязычных ис-
точников. В Приложения, представленные в конце работы, включены му-
зыкальные произведения Д. Кантемира.
Перевод на русский язык - докт. Татьяна Зайковская
|
| any_adam_object | 1 |
| author | Ghilaş, Victor 1956- |
| author_GND | (DE-588)1140557548 |
| author_facet | Ghilaş, Victor 1956- |
| author_role | aut |
| author_sort | Ghilaş, Victor 1956- |
| author_variant | v g vg |
| building | Verbundindex |
| bvnumber | BV043849656 |
| ctrlnum | (OCoLC)973573800 (DE-599)BVBBV043849656 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>03696nam a2200685 c 4500</leader><controlfield tag="001">BV043849656</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20170927 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">161027s2015 agcl |||| 00||| rum d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9790348002439</subfield><subfield code="9">979-0-3480-0243-9</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789975522007</subfield><subfield code="9">978-9975-52-200-7</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)973573800</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV043849656</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">rum</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Ghilaş, Victor</subfield><subfield code="d">1956-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1140557548</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Dimitrie Cantemir - muzicianul în contextul culturii universale</subfield><subfield code="b">= Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury</subfield><subfield code="c">Victor Ghilaş</subfield></datafield><datafield tag="246" ind1="1" ind2="3"><subfield code="a">Dimitrie Cantemir</subfield></datafield><datafield tag="246" ind1="1" ind2="1"><subfield code="a">Dimitrie Cantemir - the musician in the context of world culture</subfield></datafield><datafield tag="246" ind1="1" ind2="1"><subfield code="a">Dmitrij Kantemir - muzykant v kontekste mirovoj kultury</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Chişinău</subfield><subfield code="b">Academia de Ştiinţe a Moldovie, Institutul Patriomoniuluii Cultural, Centrul Studiul Artelor</subfield><subfield code="c">2015</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Chişinău</subfield><subfield code="b">Grafema Libris</subfield><subfield code="c">2015</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">496 Seiten</subfield><subfield code="b">Illustrationen, Notenbeispiele, Porträts, Faksimiles</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">Zusammenfassung auf Englisch unter dem Titel: Dimitrie Cantemir - the musician in the context of world culture</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">Zusammenfassung auf Russisch unter der Titel: Dmitrij Kantemir - muzykant v kontekste mirovoj kultury</subfield></datafield><datafield tag="600" ind1="0" ind2="7"><subfield code="a">Dimitrie</subfield><subfield code="c">Moldau, Woiwode</subfield><subfield code="d">1673-1723</subfield><subfield code="0">(DE-588)118518879</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Politiker</subfield><subfield code="0">(DE-588)4046517-2</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Einfluss</subfield><subfield code="0">(DE-588)4151276-5</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Musikethnologie</subfield><subfield code="0">(DE-588)4127833-1</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Musik</subfield><subfield code="0">(DE-588)4040802-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Komponist</subfield><subfield code="0">(DE-588)4032009-1</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Moldawien</subfield><subfield code="0">(DE-588)4039967-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Orient</subfield><subfield code="0">(DE-588)4075699-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4006804-3</subfield><subfield code="a">Biografie</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Dimitrie</subfield><subfield code="c">Moldau, Woiwode</subfield><subfield code="d">1673-1723</subfield><subfield code="0">(DE-588)118518879</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Musikethnologie</subfield><subfield code="0">(DE-588)4127833-1</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Orient</subfield><subfield code="0">(DE-588)4075699-3</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Einfluss</subfield><subfield code="0">(DE-588)4151276-5</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Moldawien</subfield><subfield code="0">(DE-588)4039967-9</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="5"><subfield code="a">Geschichte</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="1" ind2="0"><subfield code="a">Dimitrie</subfield><subfield code="c">Moldau, Woiwode</subfield><subfield code="d">1673-1723</subfield><subfield code="0">(DE-588)118518879</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="1" ind2="1"><subfield code="a">Komponist</subfield><subfield code="0">(DE-588)4032009-1</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2="2"><subfield code="a">Politiker</subfield><subfield code="0">(DE-588)4046517-2</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2="3"><subfield code="a">Musik</subfield><subfield code="0">(DE-588)4040802-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2="4"><subfield code="a">Geschichte</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="1" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 24 - 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| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| geographic | Moldawien (DE-588)4039967-9 gnd Orient (DE-588)4075699-3 gnd |
| geographic_facet | Moldawien Orient |
| id | DE-604.BV043849656 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:36:41Z |
| institution | BVB |
| isbn | 9790348002439 9789975522007 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029260001 |
| oclc_num | 973573800 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 496 Seiten Illustrationen, Notenbeispiele, Porträts, Faksimiles |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Academia de Ştiinţe a Moldovie, Institutul Patriomoniuluii Cultural, Centrul Studiul Artelor Grafema Libris |
| record_format | marc |
| spelling | Ghilaş, Victor 1956- Verfasser (DE-588)1140557548 aut Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Victor Ghilaş Dimitrie Cantemir Dimitrie Cantemir - the musician in the context of world culture Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Chişinău Academia de Ştiinţe a Moldovie, Institutul Patriomoniuluii Cultural, Centrul Studiul Artelor 2015 Chişinău Grafema Libris 2015 496 Seiten Illustrationen, Notenbeispiele, Porträts, Faksimiles txt rdacontent n rdamedia nc rdacarrier Zusammenfassung auf Englisch unter dem Titel: Dimitrie Cantemir - the musician in the context of world culture Zusammenfassung auf Russisch unter der Titel: Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Dimitrie Moldau, Woiwode 1673-1723 (DE-588)118518879 gnd rswk-swf Geschichte gnd rswk-swf Politiker (DE-588)4046517-2 gnd rswk-swf Einfluss (DE-588)4151276-5 gnd rswk-swf Musikethnologie (DE-588)4127833-1 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Komponist (DE-588)4032009-1 gnd rswk-swf Moldawien (DE-588)4039967-9 gnd rswk-swf Orient (DE-588)4075699-3 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Dimitrie Moldau, Woiwode 1673-1723 (DE-588)118518879 p Musikethnologie (DE-588)4127833-1 s Orient (DE-588)4075699-3 g Einfluss (DE-588)4151276-5 s Moldawien (DE-588)4039967-9 g Geschichte z DE-604 Komponist (DE-588)4032009-1 s Politiker (DE-588)4046517-2 s Musik (DE-588)4040802-4 s Digitalisierung BSB Muenchen 24 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029260001&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 24 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029260001&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister Digitalisierung BSB Muenchen 24 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029260001&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ghilaş, Victor 1956- Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Dimitrie Moldau, Woiwode 1673-1723 (DE-588)118518879 gnd Politiker (DE-588)4046517-2 gnd Einfluss (DE-588)4151276-5 gnd Musikethnologie (DE-588)4127833-1 gnd Musik (DE-588)4040802-4 gnd Komponist (DE-588)4032009-1 gnd |
| subject_GND | (DE-588)118518879 (DE-588)4046517-2 (DE-588)4151276-5 (DE-588)4127833-1 (DE-588)4040802-4 (DE-588)4032009-1 (DE-588)4039967-9 (DE-588)4075699-3 (DE-588)4006804-3 |
| title | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| title_alt | Dimitrie Cantemir Dimitrie Cantemir - the musician in the context of world culture Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| title_auth | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| title_exact_search | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| title_full | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Victor Ghilaş |
| title_fullStr | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Victor Ghilaş |
| title_full_unstemmed | Dimitrie Cantemir - muzicianul în contextul culturii universale = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury Victor Ghilaş |
| title_short | Dimitrie Cantemir - muzicianul în contextul culturii universale |
| title_sort | dimitrie cantemir muzicianul in contextul culturii universale dimitrie cantemir the musician in the context of world culture dmitrij kantemir muzykant v kontekste mirovoj kultury |
| title_sub | = Dimitrie Cantemir - the musician in the context of world culture = Dmitrij Kantemir - muzykant v kontekste mirovoj kultury |
| topic | Dimitrie Moldau, Woiwode 1673-1723 (DE-588)118518879 gnd Politiker (DE-588)4046517-2 gnd Einfluss (DE-588)4151276-5 gnd Musikethnologie (DE-588)4127833-1 gnd Musik (DE-588)4040802-4 gnd Komponist (DE-588)4032009-1 gnd |
| topic_facet | Dimitrie Moldau, Woiwode 1673-1723 Politiker Einfluss Musikethnologie Musik Komponist Moldawien Orient Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029260001&sequence=000001&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=029260001&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029260001&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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