EDITORIAL EXPLOSION by Gabriela COCA

“… In the last ten years, we experienced a real editorial explosion offered by the composer, the professor, the musicologist and the plastic artist, which is Eduard Terényi. …”
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WHERE TWO WORLDS MEET: LIGETI AND ROMANIAN FOLK MUSIC by Bianca Ţiplea TEMEŞ

“… It is hard to grasp how a composer acknowledged as a symbol of the 20th century musical avant-garde, re-formed in the laboratory of electronic music in Cologne at the end of the 1950s and always eager to take on fresh stylistical challenges, resorted to folk music as a source of inspiration. …”
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Piano Works by Dora Pejačević – A Personal Perspective of an Interpreter by Kyra Steckeweh

“…Dora Pejačević (1885–1923), a Croatian noblewoman and composer, emerges as a figure of profound musical depth and innovation. …”
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The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich by Twila Bakker, Pwyll ap Siôn

“…This article explores the boundaries that lie between analysis and sketch study, as found in two works by American composer Steve Reich (b. 1936). The article begins by examining the relationship between analysis and sketch study in relation to minimalist music. …”
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Wokół warszawskiego okresu życia i twórczości Władysława Żeleńskiego. Dokumenty epistolarne z lat 1873–1880 by Grzegorz Zieziula

“…There are letters from Żeleński’s outgoing and incoming correspondence (to Bohumil Pazdírek, Julian łukaszewski and Władysław Górski), evidence of the epistolary polemic that he carried on with Józef Brzowski on the pages of Warsaw’s daily press, and letters sent by the composer’s first wife, the writer, columnist and educationist Wanda Żeleńska (née Grabowska; 1841–1904), to Władysław Górski and his wife Helena (née Rosen), and to Izabela Zbiegniewska. …”
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Castil-Blaze troubadour by Séverine Féron

“…François-Henri-Joseph Blaze alias Castil-Blaze (1784-1857) is a very active author and composer in the French musical life. Born in the Comtat-Venaissin region, his bilingualism is the foundation of his distant and critical view of the musical practices of his time. …”
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When Musicology Goes Cultural: On Reviewing A Cultural History of Western Music in the Renaissance by Nicolò Ferrari

“…Focusing on the period from 1400 to 1650, it departs from the traditional composer-centric view, opting for a thematic approach to explore the period’s musical landscape, reflecting broader cultural contexts and shifts. …”
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BOOK REVIEW: CIPRIAN PORUMBESCU NECUNOSCUT (CIPRIAN PORUMBESCU UNKNOWN), PUBLISHING BY ED. LIDANA, SUCEAVA, 3 EDIŢII, 2011-2013 (ISSN: 2284-712X) by Gabriela COCA

“…Among a series of notable cultural representations made to celebrate 160 years of the birth of Bucovinean composer Ciprian Porumbescu, in June 1st at Stupca (today: Ciprian Porumbescu), at the Ciprian Porumbescu Memorial Museum, also held at the National Musicological Symposium. …”
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Internet application Mozilla localization and using in teaching by Gintautas Grigas, Tatjana Jevsikova

“…The reasons to discuss this topic are following: 1) the programs' suite was localized (menu, dialog boxes and other strings and documentation are translated and the program is adapted for its proper matching to Lithuanian environment); 2) using one Mozilla package for teaching Intemet topics instead of separated Inter­net applications (web browser, HTML composer, e-mail and chat clients) has many advantages. …”
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REPETITION AND FANTASY IN SPRING, POEM FOR SOPRANO, CLARINET AND PIANO, BY CARMEN PETRA-BASACOPOL by Şerban MARCU

“… The present study, part of the research grant The artistic and social impact of the contemporary music of the 21st century from the perspective of the relationship composer-performer-audience (project director Assistant Professor Cristian Bence-Muk, D.Mus.) investigates the structural and rhetoric aspects in the poem Spring, for soprano, clarinet and piano, by Carmen Petra-Basacopol, on the verses of poet Mariana Dumitrescu. …”
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BERCEUSES DU CHAT BY IGOR STRAVINSKY by Răzvan METEA

“…Berceuses du chat by Igor Stravinsky for voice and clarinet trio - picollo clarinet, clarinet in A, bass clarinet - is a cycle of four vocal-instrumental miniatures that are part of the Russian period of the composer’s work, being completed in 1915-1916. The timbral balance achieved between the voice and the instrumental ensemble, the lyrical manner of musical expression, the specific rhythmic-melodic typologies of writing, the chromatic versus diatonic dichotomy, the affiliation of the opuses to the comic aesthetic category are characteristics of this series of four micro-art-songs, cradle songs, dedicated to and apparently describing the characteristics of a cat. …”
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Wilde’s French Salomé by Emily Eells

“…Wilde’s play is untranslatable: both the illustrator Aubrey Beardsley and the composer Richard Strauss recognized the quintessential French quality of the script, and respected it in their creative translations into another artistic genre.…”
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UMWERTUNGEN IN LISZTS WASSER-MUSIK by Márta-Adrienne ELEKES

“…I’ve clung into this theme as to a connecting thread which would help me to discover what kind of content attitude could be observed among some works and what kind of musical toolbar was born in the composer’s workshop. To make it simple, what was the meaning or how it happened that this “watery” theme came into the light and in what formal solution was this concluded. …”
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TEXTURALISM by Andrei C. COZMA

“… Although identifying and defining texture as a specific sound organization in sound mass compositions comes about frequently in contemporary musicology, only a handful of researchers regard this as a tendency of what turns out to be a large number of composers towards an aesthetic with underlying principles of composition. …”
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FRANZ SCHUBERT AND THE MUSICAL ROMANTICISM by Boróka GYARMATHY-BENCZE

“…Most musicians of that age possessed a vast cultural background, often being poets, composers and performers at the same time. Composer Franz Schubert reunites his art the subtle text interpretation with the melodic, purely musical ideal of shaping melody. …”
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ELEMENTS OF THE MUSICAL DISCOURSE IN “FUM (SMOKE)” BY DOINA ROTARU by Şerban MARCU

“… The present study is an analysis of the work entitled Fum (Smoke), for clarinet solo, written by the Romanian composer Doina Rotaru in 1996 and dedicated to the clarinetist Emil Vişenescu. …”
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GIUSEPPE VERDI: UN BALLO IN MASCHERA by Júlia KÖPECZI KIRKÓSA

“…Although one might state that the composer was obliged to make compromises, one could safely say that these did not affect by any means the message of the opera or the dramatic impact it had then, on the day of the premiere or even so today, 151 years after its creation. …”
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When ‘Law’ Rhymes with ‘Flaw’: the Sounds of British Justice in Gilbert and Sullivan’s Trial by Jury (1875) by Joël Richard

“…Yet I would argue that as early as the mid-1870s, the composer-and-librettist duo had successfully started working on what might be perceived by their audience as the ‘sound’ best fit to satirize a number of Victorian institutions—here, the judicial system, turned topsy-turvy by a banal breach of promise case. …”
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« LE PAYSAGE SONORE » DE MURRAY R. SCHAFER by Luana STAN

“…In a world where background music (muzak) invades all public places, Canadian musicologist and composer Murray Schafer does an analysis of all types of sounds (natural, artificial, from the old days until today) in his book The Tuning of the World and advances a proposal to create sound museums. …”
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ANNALYTICAL BENCHMARKS IN THE WORK “ON A SUN DIAL II” FOR CLARINET B FLAT AND RECITER BY PETRU STOIANOV by Cristian BENCE-MUK

“… On a sun dial II by Petru Stoianov, for clarinet and reciter strats from Nichita Stănescu’s verses (like many others of the composer’s opuses) and offers sonorous meditation on the poetic text. …”
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