Studia Universitatis Babeş-Bolyai
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TOWARDS A THEORIZING OF THE MANNERIST STYLE IN MUSIC
Full text linkThe mannerist style could be evaluated as a historical period or as an aesthetic constant in art history. In contemporary musicology, we already have the frame of a mannerist period that might correspond, in music, to what was happening at the time in fine arts and in literature (in the transition from Hochrenaissance to Hochbarock), and the composer unanimously considered mannerist - in such a context - remains Gesualdo da Venosa. But mannerism could be seen also as a constant infiltrated within other styles and highlighting its characteristic manifestations, according to each case. Arguments could outline a mannerist tradition that connects musical guidemarks which are remote in time: representatives of the Renaissance with Bach, with Schumann and other romantics, with Berg and other moderns, with Berio and other postmoderns. This paper sketches some concepts, symbols, procedures that could be related with the aesthetic constant of mannerism in music: the magic letter, Ars combinatoria, the magic square, the magic number, the ludic element, musical quotation, labyrinth, mirror, masque
EDE TERÉNYI - THE RETROSPECTIVE OF FIVE DECADES OF CREATION
Full text linkEde Terényi (b. Târgu-Mureş, 12 March 1935) is a composer, a musicologist and a pedagogue. For over three decades he has been a professor of harmony, counterpoint, musical dramaturgy and composition at the „Gh. Dima” Academy of Music in Cluj-Napoca – Romania.
Ede Terényi’s language of composition followed several stages. In his first works we notice the influence of the Hungarian folklore from Transylvania, and the superior form of expression from Bartók’s music. Then, in the ’60s, Ede Terényi founded himself a personal musical language characterized by the transfiguration of the elements form Bartók and the Webern serial music in a vision where the mark of the autochthonous folklore stays clearly perceptible. Later on, in the ’70s, we can find in his work the penetration towards the music of the ’new way’. The contemporary generation was concretized in a new orientation of the composition that is based on the musical graphism. Gradually, this tendency to an ever concise drawing of the musical parameters led to the search for an antipole, that is found in the autochthonous music of the remotepast – fifteenth and sixteenth century. More recently, Ede Terényi seeks the possibilities of bringing to life again archaic elements in an ever more modern form
TUNES OF THE TRADITIONAL CHRISTMAS CAROLS IN THE NORTHERN PART OF MEZŐSÉG (CÂMPIA TRANSILVANIEI)
Full text linkThe paper hereby briefly presents the most beautiful Christmas carols of the northern part of Mezőség (Câmpia Transilvaniei) and also the most popular ones. Part of the material I have presented in this paper has been collected by myself (tunes of the carols from Magyarborzás and vice), the rest I have taken from folklore literature on the area. Tunes are presented and analyzed in a chronological order, starting with the oldest ones. My motivation to write on this topic was to present the area of Mezőség (Câmpia Transilvaniei) and the invaluable treasures of its folklore to a larger group of people. On the other hand, I think it is our duty to help these valuable pieces of folklore survives