1,722,356 research outputs found
Enescu at Bălți: history and contemporaneity [Articol]
No full textIn the many musicological researches on the encyclopedic creation of the genius Enescu, a very important aspect – the mass distribution of the great violin art – is less reflected. The present investigation fills in this gap by describing the concertistic and charity activity that George Enescu carried out in Bălţi in the interwar period. In Bălţi, this phenomenon is valorized and George Enescu’s name is immortalized by being conferred to the Children’s Music School only after about 80 years, in 1994. From this moment on, a whole array of cultural and artistic and educational activities begins to unfold, the apex of which consists of three editions of the “George Enescu” Festival-Contest where students – musicians from the pre-university artistic education schools – as well as notorious personalities in the interpretative and pedagogical-artistic field from Moldova and Romania compete
George Enescu
Full text linkGoerge Enescu masa kecilnya mendapatkan julukan anak ajaib karena bakatmusiknya yang luar biasa,. ia mulai menulis lagu pada usia dini. Beberapa karyanya dimasa kecil sebagian besar berupa potongan pendek, masih bertahan sampai sekarang. Vincent D'Indy mengklaim bahwa karya karya Beethoven dihancurkan semua dapat direkontruksi dari ingatan oleh Goerge Enescu. Meskipun Enescu pemain biola namun memiliki tehnik yang lebih baik dari Alfred Corto
Enescu im Kontext
Full text linkIn der rumänischen Musik gibt es eine Zeit vor Enescu und eine Zeit nach Enescu. Als Komponist und Interpret hat er Generationen von rumänischen KomponistInnen und MusikerInnen geprägt und tut es noch heute.
Mit diesem 5. Band aus der Reihe Archiv für Osteuropäische Musik – Quellen und Forschungen liegt erstmals eine deutschsprachige Publikation vor, in der musikwissenschaftliche Beiträge über Enescus Musik, aber auch über seine Person vereint werden konnten. Enthalten sind Aufsätze vom ersten ZwischenZeiten Symposium im Jahr 2006, das Enescu gewidmet war, ebenso wie Beiträge aus den ZwischenZeiten Symposien der folgenden Jahre, in denen
immer wieder Bezüge zu Enescus OEuvre hergestellt wurden
George Enescu, Posthumously Reviewed
Full text linkThis essay tackles some aspects related to the attitude of the Romanian officials after George Enescu left his country definitively (in 1946). For example, recent research through the archives of the former secret police shows that Enescu was under the close supervision of Securitate during his last years in Paris. Enescu did not generate a compositional school during his lifetime, like for instance Arnold Schoenberg did. His contemporaries admired him, but each followed their own path and had to adapt differently to an inter-war, then to a post-war, Communist Romania. I will therefore sketch the approach of younger composers in relation to Enescu (after 1955): some of them attempted to complete unfinished manuscripts; others were influenced by ideas of Enescu's music. The posthumous reception of Enescu means also an intense debate in the Romanian milieu about his “national” and “universal” output
ESSAYS ZU GEORGE ENESCU
Full text linkThe names of Enescu, Bartók and Strawinsky are frequently associated, and some points of view concerning the consideration of the traditional national music seam to be similar. Nevertheless is their evolution quite different. Enescu will be soon relatively isolated from international musical avant-garde, and he has spent much more time and energy as interpret and cultural organizator of the musical life of his homeland. His tendency to an European synthesis with some elements of Romanian lautari-folclore seams to ground to him on a most conservative conception. He is less successful as composer and his deep originality is difficult to analyze and accept.
Carl Gustav Jung defines about 1912-1919 the notion of the archetypes of collective unconsciousness (like Animus-Anima, Persona-Ombra) as an universal a priori element, which may constantly change his form. An application to the music suggests the use of some “musical archetypes” (like Initium-Centrum-Finis, Crescere-Planum-Descrescere, Culmen-Vallis, Maximum-Minimum) and may reveal some common gestures of all composers, but also some specific details. Six works of the late period by Enescu are experimentally analyzed in this respect.
An attempt to precisely define the "musical time" by Enescu, frequently evoqued in recent studies, would also contribute to understand one of the most specific and intimates zones of his creation. The first problem in this approach is the formulation of some analytical criteria and an adequate terminology, as the domain is usually quite fuzzy defined. The answer to such question cannot be simple - as in the most cases of the attempts to describe the Ineffable of Enescu
Enescu (Enesco), George (Georges)
No full text* 19.8.1881 Liveni-Virnov/RO (heute: George Enescu), † 4.5.1955 Paris. Komponist und Violinvirtuose
Enescu (Enesco), George (Georges)
No full text* 19.8.1881 Liveni-Virnov/RO (heute: George Enescu), † 4.5.1955 Paris. Komponist und Violinvirtuose
ESSAYS ZU GEORGE ENESCU
Full text linkThe names of Enescu, Bartók and Strawinsky are frequently associated, and some points of view concerning the consideration of the traditional national music seam to be similar. Nevertheless is their evolution quite different. Enescu will be soon relatively isolated from international musical avant-garde, and he has spent much more time and energy as interpret and cultural organizator of the musical life of his homeland. His tendency to an European synthesis with some elements of Romanian lautari-folclore seams to ground to him on a most conservative conception. He is less successful as composer and his deep originality is difficult to analyze and accept.
Carl Gustav Jung defines about 1912-1919 the notion of the archetypes of collective unconsciousness (like Animus-Anima, Persona-Ombra) as an universal a priori element, which may constantly change his form. An application to the music suggests the use of some “musical archetypes” (like Initium-Centrum-Finis, Crescere-Planum-Descrescere, Culmen-Vallis, Maximum-Minimum) and may reveal some common gestures of all composers, but also some specific details. Six works of the late period by Enescu are experimentally analyzed in this respect.
An attempt to precisely define the "musical time" by Enescu, frequently evoqued in recent studies, would also contribute to understand one of the most specific and intimates zones of his creation. The first problem in this approach is the formulation of some analytical criteria and an adequate terminology, as the domain is usually quite fuzzy defined. The answer to such question cannot be simple - as in the most cases of the attempts to describe the Ineffable of Enescu
Heat Transfer Mechanisms and Contributions of Wearable Thermoelectrics to Personal Thermal Management
No full textThermoelectricity can assist in creating comfortable thermal environments through wearable solutions and local applications that keep the temperature comfortable around individuals. In the analysis of an indoor environment, thermal comfort depends on the global characteristics of the indoor volume and on the local thermal environment where the individuals develop their activity. This paper addresses the heat transfer mechanisms that refer to individuals, which operate in their working ambient when wearable thermoelectric solutions are used for enhancing heating or cooling within the local environment. After recalling the characteristics of the thermoelectric generators and illustrating the heat transfer mechanisms between the human body and the environment, the interactions between wearable thermoelectric generators and the human skin are discussed, considering the analytical representations of the thermal phenomena. The wearable solutions with thermoelectric generators for personal thermal management are then categorized by considering active and passive thermal management methods, natural and assisted heat exchange, autonomous and nonautonomous devices, and direct or indirect contact with the human body
5. Enescu at Bălți: History and Contemporaneity
No full textIn the many musicological researches on the encyclopedic creation of the genius Enescu, a very important aspect - the mass distribution of the great violin art - is less reflected. The present investigation fills in this gap by describing the concertistic and charity activity that George Enescu carried out in Bălţi in the interwar period. In Bălţi, this phenomenon is valorized and George Enescu’s name is immortalized by being conferred to the Children’s Music School only after about 80 years, in 1994. From this moment on, a whole array of cultural and artistic and educational activities begins to unfold, the apex of which consists of three editions of the “George Enescu” Festival-Contest where students - musicians from the pre-university artistic education schools - as well as notorious personalities in the interpretative and pedagogical-artistic field from Moldova and Romania compete
- …
