Search Results

[Angi István]

(b Ojdula, 16 Oct 1933) Romanian music aesthetician and musicologist. He is considered the founder of musical aesthetics in Romania. Ştefan Angi studied at Cluj-Napoca Conservatory (1953–8) where his teachers included Márkos Albert (music theory), Jodál Gabor (harmony), Max Eisikovits (counterpoint), Jagamas János (forms), Földes László (aesthetics), Lakatos István and Benkő András (music history), Zsurka Péter (violin), Ana Voileanu-Nicoară (chamber music), Antonin Ciolan (orchestral ensemble), and Szenik Ilona (folklore). He then studied at Lomonosov Moscow State University (1963–5), with the philosopher Valentin Ferdinandovich Asmus, where he graduated with a dissertation on Music and Affectivity and took the PhD in Romania in 1966. In 1958 he joined the academic staff of Cluj-Napoca Conservatory and between 1976 and 1986 was the dean of the Theoretic Faculty. He was awarded the ‘Cultural Merit’ medal (1970) and the ‘Romanian Academy Award’ (1977). Angi is a permanent correspondent on serial radio broadcasts, has published more than 100 articles, and has attended 70 conferences – on musicology, philosophy, and aesthetics....

(b Sibiu, 4 Nov 1956) Romanian musicologist and music aesthetician. He studied at Cluj-Napoca Conservatory (1976–81) where he joined the academic staff (in 1996), earned a doctorate on music aesthetics (1999), was pro-rector (2008–12), and became president of the Senate in 2012.

Owing to his multiple interests Banciu has been recognized as a member of several professional music associations (starting in 2002), an evaluator on many national committees and music competitions (starting in 2006), a member of the board of directors at the Union of Romanian Composers and Musicologists (starting in 2014), the vice-president of the ‘Performing Arts Commission’ within the National Council for the Certification of University Titles, Diplomas, and Certificates (C.N.A.T.D.C.U., starting in 2016), a peer reviewer on journals (Musicology Papers, Musicology Today, Studia Musica), and an organizer of international conferences (The International Congress on Musical Signification in ...

In music, the relation between verbal stress and melodic accent in the setting and delivery of a text. Clear and appropriate text setting, measured by quantity or quality, was extolled by humanist thinkers in the Renaissance on the basis of classical precedent, and it was central to the emergence of recitative and the ‘new music’ in Florence during the late 16th century. Throughout the Baroque period, the notion of the musician as orator, persuading and moving an audience, depended on proper declamation. The subject was often discussed by theorists, particularly as clear declamation became threatened by the more musical demands of the aria. J.G. Walther (WaltherML) applied to music the rationalistic concept of declamation, which originally dealt with speech, and focussed his attention on recitative. J.J. Rousseau (Dictionnaire, 1768) dealt with declamation as the relationship between musical and linguistic accent, which had been much discussed in French singing treatises, such as Bénigne de Bacilly’s ...

The intensity of volume with which notes and sounds are expressed. In the 20th century dynamics came to be seen as one of the fundamental parameters of composition which function interdependently to create musical meaning and structure.

Dynamic variation is so natural to the performance of almost all styles of music that its presence can normally be assumed even when indications for it are mainly or even entirely absent from the notation. That dynamic transitions occurred in the music of ancient Greece is suggested by Plutarch’s accounts, and it is likely that the monophonic hymns of the 1st century ce displayed nuances of volume illustrating their meaning or imitating the tone of speech. Medieval musicians had no word for ‘dynamics’ per se, but it is implicit in the concepts of structura and processus. By the early Renaissance period dynamic values were reflected in changes in the number of voices and their registers. In Josquin’s ...

Traditionally, noise has been thought of as the outside of music and meaning. In systems theory, noise is disruption of the signal or message; in biological terms, it is associated with pain, in legal terms it is associated with disturbance. Noise is also that which has hitherto been excluded from being proper music, so can include radical new directions in musical form (Wagner, Coltrane) as well as noises deemed unmusical. The term noise implies a judgement about the type of sound, performance, or piece, not an inherent quality of it. This means that the idea of noise has always been historicized within music philosophy. Luigi Russolo proposed (in 1913) that noise was both an essential part of nature and a new reality of the industrialized metropolis. Purposeful use of noise, would, ironically, bring a new social harmony. John Cage expanded the definition of what could occur in the place of music, from silence (more accurately, the absence of silence) to machine sounds (turntables, radios, prepared pianos). In ...