“JUGGLE” FOR CLARINET AND PIANO BY CRISTIAN MARINA – CHANGING THE SEMANTICS OF CONTEMPORARY MUSICAL CREATION FROM THE POINT OF VIEW OF VARIOUS INSTRUMENTAL VERSIONS by Cristian BENCE-MUK

“… Juggle (2005) for clarinet and piano by Cristian Marina represents the starting point for another of the composer’s works, Intorno (2006) for clarinet, violin and piano. …”
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A narrativa mediada e a permanência da tradição: percurso de um anti-herói brasileiro by Luiz Gonzaga Motta

“…The article describes a narrative analysis of the song “Faroeste Caboclo”, written by the Brazilian composer Renato Russo. It freely applies the procedures proposed by the Russian narratologist Vladimir Propp in a typical product of the cultural industry to comprehend the narrative of a Brazilian modern anti-hero. …”
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VIOLETA DINESCU UND DER SCHLÜSSEL DER TRÄUME. JUBILÄUMS-PORTRÄT by Bianca ŢIPLEA TEMEŞ

“… Fusing together in her artistic background two utterly contrasting worlds such as Romania and Germany, the composer Violeta Dinescu succeded to achieve a unique, distinctive voice in contemporary composition. …”
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DIE MUSIKALISCHE ANALYSE DES WERKES „MYSTERIUM“ VON KISKAMONI-SZALAY MIKLÓS by Zoltán SZALAY

“…There he composed the song “Mystery” (1995), based on the poem of the same name by the Hungarian poet Ady Endre. …”
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LA FRUSTRATION IDENTITAIRE. QUELQUES IDÉES DE MIHAI MITREA-CELARIANU SUR L’ÉCOLE ROUMAINE DE COMPOSITION by Luana STAN

“… Mihai Mitrea-Celarianu was a French-Romanian composer. Born in Bucarest in 1935, after the arrival of the communist regime, he was forced to leave the country and he installed himself in Paris, where he died in 2003. …”
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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…The score by Hans Zimmer is a landmark score for the composer and consolidates his reputation for scoring films of that genre. …”
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DÉBATS SUR LA « ROUMANITÉ » MUSICALE by Luana STAN

“…Firstly, in the 1920’s, an important musicological movement marked the appearance of the periodical Muzica of Bucharest; the two main personalities of the Romanian music, musicologist Constantin Brailoiu and composer Georges Enesco, wrote a lot of essays to defend this «romanity». …”
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THE RENAISSANCE FRENCH PSALTER. (THE ROMANIAN VERSIFICATION OF THE PSALMS WITH HUGUENOT MELODIES. ON THE OCCASION OF CELEBRATING THE 450th ANNIVERSARY OF THE FIRST FRENCH PSALTER,... by Anamaria Mădălina HOTORAN

“…Celebrating 450 years since the first French Psalter (Le Psautier français) at Geneva (1562), the book represents the second Romanian version of the French Psalter, after the Psalter published in 1673 by Dosoftei, Bishop of Moldavia and it is the result of the work of 18 composers and poets and 13 scientific referents from Romania, France, Germany and USA, under the coordination of  Mircea Valeriu Diaconescu (composer, Germany), Ştefan Bratosin (Univ. …”
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Pratiques de la culture des fruits by Leo Mariani

“…À travers l'entrée privilégiée du « numb taste », un goût qui engourdit les muqueuses de la bouche (et qui est ici provoqué par un fruit : le durian), on aborde la question des rapports humains aux aliments de façon transversale, en liant modes de connaissance, de consommation et de production.Se gardant de toute inflation théorique, le propos s'attache à l'analyse ethnographique méticuleuse du goût et de l'économie générale dans lequel il s'inscrit, entre la Malaisie et Singapour, pour finalement conceptualiser différentes manières de composer et d'éprouver les aliments et les mondes.On liera notamment l'apparition du numb taste à une contrainte agronomique et ontologique que s'imposent les producteurs et les consommateurs de ces deux pays, en laissant tomber des fruits que la rationalité économique la plus évidente leur enjoint pourtant de récolter.…”
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“JANKO”, THE “FOLK OPERA” LISZT NEVER WROTE by Mónika IVÁNYI-PAPP

“… On the basis of his extant correspondence, Liszt planned composing an opera with Hungarian scenes and titled it Janko, der ungarische Rosshirt (Janko, the Hungarian horse-herder). …”
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“EQUINOXES” BY TIBERIU OLAH by Răzvan METEA

“…He thoroughly researched and applied very well the expressive means of popular and classical instruments, as well as those of the human voice, but he especially explored Romanian folk dances and mainly their rhythm, suggestively expressed by the hidden language of modern percussion. The composer creates a world of celestial sonorities where musical time and space are very well outlined…”
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Solo Songs by Count Julijan Pejačević in the Našice Local History Museum by Andrea Rakitić

“…Although he is remembered primarily as a royal chamberlain and family historian, he was also a pianist and a composer. His musical oeuvre consists of at least 70 works (though some sources would point to far more), including solo songs and piano pieces, most of which are today lost due to a plethora of reasons concerning the history of the Pejačević family library. …”
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A SNEAK PEEK INTO LIGETI'S MAILBOX: "IL ME FERA GRAND PLAISIR D’ÉCRIRE UN QUATUOR À CORDES POUR LES ARDITTI. MAIS QUAND? ..." by Bianca ŢIPLEA TEMEŞ

“… Ligeti’s manuscripts at the Sacher archive in Basle continue to provide new insights into the composer’s life and career, elements which are meant to complement the general knowledge about this fascinating musician. …”
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THE CHORAL FRAMEWORK IN THE OPERA DECEBAL BY TEODOR ZGUREANU by Luminiţa GUŢANU

“…The multiple-level contrasts (dynamic, rhythmic, timbral, of registers), the vitality, energy, tension, harshness and density are the main characteristics of this opera, in which we find clarity and self-confidence in composition, build-ups and tensions disrupted by breaks or by contrasting sections, but also a persistency in using melodic-rhythmic cells of folk origin. It is a style the composer has perfected with great toil, characterized also by timbral refinement and subtlety in the game of nuances. …”
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Dora Pejačević and Music Salons in Continental Croatia as Hubs of Cultural Networking by Vjera Katalinić

“…The second part is focused on such events within the family of the composer and aristocrat Dora Pejačević and in the houses of her friends where she participated as well, all in the context of musical life within the local environment. …”
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APPROACHES TO THE AMPLE-FORM WORKS IN MUSIC SCHOOLS by Cătălina GUŢANU

“…To help the student study the work more easily and approach it correctly from an interpretative and stylistic point of view, the professor should present him/her with information regarding the composer’s biography, the style of the concerto and the period in which it was composed. …”
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Perception of Dora Pejačević in Croatian Public Printed Media from 1905 to 1945 by Stanislav Tuksar

“…The perception of the female composer Dora Pejačević in the Croatian public media (newspapers and magazines) in the period from 1905 to 1945 can be traced through about fifty articles. …”
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Zur Deutung von Dokumenten kompositorischen und analytischen Denkens. Béla Bartóks Arbeit mit zyklischen Themen by László Vikárius

“…. // In this article, documents of Béla Bartók’s compositional thought are examined on the basis of sketches and self-reflections as well as the composer’s program notes for his own works. In particular, the relevance of these documents for an assumed authorial intent is discussed. …”
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Penser au singulier [1984] by Éric de Dampierre

“…— ou du monde — confirme ces êtres dans leur hiérarchie, qui est leur lien ; que tout ce qui n’est pas constitué tel est désordre du monde et, littéralement, vain ; que l’action de l’homme peut seule instituer l’identité, composer avec les différences et, de surcroît, donner aux conséquences un sens.…”
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I. PRAYERS OF FEMALE PROTAGONISTS IN GIUSEPPE VERDI’S OPERAS FENENA’S PRAYER: OH, DISCHIUSO È IL FIRMAMENTO by Adél FEKETE

“…Fenena’s Prayer from Nabucco opens the author’s series of analyses of preghiere written for the solo female voice found in ten of the composer’s works, covering all three of Verdi’s creative periods. …”
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