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Rumänische Volksmusik: Maramure? County von Bela Bartok (englisch) Taschenbuch Buch-
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eBay-Artikelnr.:386686493536
Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9789401016889
- Book Title
- Rumanian Folk Music
- ISBN
- 9789401016889
- Subject Area
- Music
- Publication Name
- Rumanian Folk Music : Maramure? County
- Publisher
- Springer Netherlands
- Item Length
- 9.3 in
- Subject
- General
- Publication Year
- 2011
- Series
- Bartok Archives Studies in Musicology Ser.
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Weight
- 18 Oz
- Item Width
- 6.1 in
- Number of Pages
- 329 Pages
Über dieses Produkt
Product Identifiers
Publisher
Springer Netherlands
ISBN-10
9401016887
ISBN-13
9789401016889
eBay Product ID (ePID)
175724904
Product Key Features
Number of Pages
329 Pages
Language
English
Publication Name
Rumanian Folk Music : Maramure? County
Publication Year
2011
Subject
General
Type
Textbook
Subject Area
Music
Series
Bartok Archives Studies in Musicology Ser.
Format
Trade Paperback
Dimensions
Item Weight
18 Oz
Item Length
9.3 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
Series Volume Number
5
Number of Volumes
1 vol.
Illustrated
Yes
Table Of Content
Preface.- One.- to Part One.- Music Examples.- Notes to the Melodies.- Two.- to Part Two.- Texts and Translations.- Refrains.- Notes to the Texts.- Appendix I, by Zoltán Kodály.- The Rumanian Folk Music of Maramures.- Appendix II, by Benjamin Suchoff.- Addenda.- Appendix III, by Benjamin Suchoff.- Lexicographical Index of Vocal Melodies.- Map of Transylvania, by Tiberiu Alexandra.
Synopsis
he wealth and variety of artistic creations evolved by the Ru T manian people in the course of the centuries have long alerted the interest of foreign scholars whom circumstances brought to the lands of the Rumanians. The Polish chronicler Matthew Stryjcovski (16th century), the Genovese Franco Sivori, secretary of the 16th century reigning prince Petru Cercel, the Magyar poet Balassius (Balassa Balint 16th century), Paul Strassburg, the envoy of Sweden's 17th century King Gustav Adolph, the Silesian poet Martin Opitz (17th century), the German Johannes Troester (17th century), and many others have left us many accounts, often praises, all precious testimonials providing a better knowledge of past times. The first notations of Rumanian popular melodies known to us like wise go back to the 16th and 17th centuries. The tablatures for organ left by the musician Jan of Lublin, by the Franciscan monk John Caioni, who was of Rumanian origin himself, and by Daniel Speer, and, indeed, those recorded in the manuscript known to musicologists as the Codex Vietoris, are not, however, to be considered as true collections of folklore. Nor do the ten "Walachische Tanze und Lieder" collected and published in Western notation by the Austrian Franz Joseph Sulzer, in the second volume of his Geschichte des Transalpinischen Daciens, das ist: der Wala chei, M oldau, und Bassarabiens, printed in Vienna in 1781, come under the heading of a folklore collection as we understand the term today., he wealth and variety of artistic creations evolved by the Ru- T manian people in the course of the centuries have long alerted the interest of foreign scholars whom circumstances brought to the lands of the Rumanians. The Polish chronicler Matthew Stryjcovski (16th century), the Genovese Franco Sivori, secretary of the 16th century reigning prince Petru Cercel, the Magyar poet Balassius (Balassa Balint 16th century), Paul Strassburg, the envoy of Sweden's 17th century King Gustav Adolph, the Silesian poet Martin Opitz (17th century), the German Johannes Troester (17th century), and many others have left us many accounts, often praises, all precious testimonials providing a better knowledge of past times. The first notations of Rumanian popular melodies known to us like- wise go back to the 16th and 17th centuries. The tablatures for organ left by the musician Jan of Lublin, by the Franciscan monk John Caioni, who was of Rumanian origin himself, and by Daniel Speer, and, indeed, those recorded in the manuscript known to musicologists as the Codex Vietoris, are not, however, to be considered as true collections of folklore. Nor do the ten "Walachische Tanze und Lieder" collected and published in Western notation by the Austrian Franz Joseph Sulzer, in the second volume of his Geschichte des Transalpinischen Daciens, das ist: der Wala- chei, M oldau, und Bassarabiens, printed in Vienna in 1781, come under the heading of a folklore collection as we understand the term today.
LC Classification Number
M1-5000
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