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STUDY MODULE II Higher Music Theory: 20 Century Music MUSIC ACADEMY “GH. DIMA” CLUJ-NAPOCA STUDY MODULE II Higher Music Theory: 20th Century Music Semiography Year I, Master Level NELIDA NEDELCUŢ 2016 1 2 CONTENTS: INTRODUCTION ...................................................................................................................................5 LEARNING UNIT NO. 1. ........................................................................................................................9 TH THE SEMIOGRAPHY IN MUSIC OF 20 CENTURY .................................................................................9 CONTENTS ............................................................................................................................................... 9 OBJECTIVES OF THE LEARNING UNIT ............................................................................................................... 9 SUMMARY OF THE LEARNING UNIT ................................................................................................................ 9 TH 1. COMPOSITION TRENDS IN 20 CENTURY WORLD MUSIC .............................................................. 10 2. SYSTEMATIZATIONS OF MUSICAL SEMIOGRAPHIES ....................................................................... 17 3. FACTORS THAT LED TO A VARIETY OF NOTATIONS ......................................................................... 21 4. THE FREEDOM OF IMPROVISATION GRANTED TO THE PERFORMER .............................................. 25 5. INTERRELATIONS OF SEMIOGRAPHY WITH REPRESENTATIONS SPECIFIC TO OTHER ARTS............. 27 SELF-VALUATION TEST 1 ........................................................................................................................... 34 BIBLIOGRAPHY ........................................................................................................................................ 34 LEARNING UNIT 2: ............................................................................................................................. 36 TH SEMIOGRAPHIC CHARACTERISTICS IN THE ROMANIAN MUSIC OF 20 CENTURY ............................ 36 CONTENTS ............................................................................................................................................. 36 OBJECTIVES OF THE LEARNING UNIT ............................................................................................................ 36 SUMMARY OF THE LEARNING UNIT .............................................................................................................. 36 TH 6. ASPECTS OF VOCAL WRITING IN 20 CENTURY ROMANIAN MUSIC ............................................... 38 7. SEMIOGRAPHIC ASPECTS IN ROMANIAN PIANISTIC WORKS OF THE 20TH CENTURY ..................... 44 TH 8. NOTATION OF PIANISTIC TECHNIQUE IN ROMANIAN WORKS OF THE 20 CENTURY .................... 58 TH 9. SONOROUS EFFECTS IN PIANO WORKS OF THE 20 CENTURY ........................................................ 71 10.THE CLUSTER EFFECT - CONNOTATIONS OF PERFORMANCE AND MUSICAL NOTATION ............... 90 11. ORNAMENTS IN PIANO WORKS .................................................................................................. 100 SELF-VALUATION TEST 2 ......................................................................................................................... 117 BIBLIOGRAPHY ...................................................................................................................................... 117 LEARNING UNIT.3 ............................................................................................................................ 120 CASE STUDY IN CONTEMPORARY ROMANIAN MUSIC ..................................................................... 120 CONTENTS ........................................................................................................................................... 120 OBJECTIVES OF THE LEARNING UNIT .......................................................................................................... 120 SUMMARY OF THE LEARNING UNIT ............................................................................................................ 120 3 12 JOCURI PIANISTICE BY EDUARD TERENYI, A LANDMARK AMONG THE SEMIOGRAPHIC TH INNOVATION OF THE 20 CENTURY ................................................................................................................ 121 13. THE CONCEPT OF MUSICAL-POETICAL PRODUCTION IN 5 TABLOURI CU UMBRE(LE) BY CONSTANTIN RÎPĂ .......................................................................................................................................... 136 14. EXPRESSIVE COORDINATES IN ÎNGER ȘI DEMON OPERA BY TUDOR JARDA ............................... 148 SELF-EVALUATION TEST 3 ........................................................................................................................ 155 BIBLIOGRAPHY ...................................................................................................................................... 156 SELF - EVALUATION OF THE STUDY MODULE................................................................................................. 157 ANSWERS ............................................................................................................................................. 157 GENERAL BIBLIOGRAPHY ................................................................................................................ 163 4 INTRODUCTION TERMINOLOGICAL ASPECTS IN SEMIOGRAPHY The musical notation, also called semiography (Gr. semeion-sign, graphi-writing), is the process of writing music by using signs. Semiography represents a semiotic (is based on the sign) and semantic phenomenon. The context in which the term semiology is used at present is extremely diverse. The concept was introduced in 1916 by Ferdinand de Saussure in his Cours de linguistique générale [Course in General Linguistics], in order to designate a vast science of signs. FERDINAND DE SAUSSURE (b. November 26. 1857 Geneva, Switzerland - d. 22 Febr. 1913 Morges, Vaud, Switzerland) - Swiss linguist coming from a family of illustrious scientists from Geneva, is considered the father of modern linguistics. Ferdinand de Saussure‟s concern for the study of language was continuous throughout his life, continuing after the end of secondary courses studied at Leipzig‟s most famous university of his time, specialized in philology. Upon graduation he occupied an Indo-European linguistics chair at a university in France. Later, he returned to Switzerland, where he received a linguistics department. There he taught, among others, Sanskrit, Lithuanian and general linguistics. His theses about language were presented in the Cours de linguistique générale (1916, Romanian translation „Curs de lingvistică generală”) published by his students and disciples (Charles Bally, Albert Sechahaye) after his death, based on the notes they took during the lectures held by the famous linguist. Saussure defined fundamental concepts: the distinction between language, speech and individual speaking (known as langage/ langue/ parole), the synchronic / diachronic dichotomy (the difference between synchronic linguistics, which studies a language in the stage represented at a given point in time, and diachronic linguistics, which compares the different historical stages of a language), the arbitrariness of the sign etc. All these concepts have later inspired not only linguistic science, but also other areas of the humanities. In the broadest sense, semiology deals with the study of communication systems, regardless of their nature. Semiology uses the terminology of (structural) linguistics because it was found that whatever the object-sign (gesture, sound, image) it is accessible to knowledge only through language. Ever since the early decades of the twentieth century this phenomenon was underlined, stating that linguistics can become the “general patron” of the whole semiology, 5 although language is only one particular system. 1 In conclusion, semiology is seen as a discipline that attempts to analyze the signs of a certain domain, using models and approaches provided by linguistics. This intervention is necessary because there is no scientific notation that does not resort to specific secondary codes, which in most cases constitute transcripts which give the descriptions an explicit character. Semantics is a branch of linguistics, but also of other sciences (philosophy, psychology, logic, sociology, anthropology, semiotics etc.) whose object of study regards the sense. Semantics is referred to by specialists as “the poor relative of linguistics" because, besides the fact that it was the last to be constituted (approximately late nineteenth century), it presents difficulties in conducting an objective research on the sense employing strictly linguistic methods. From this point of view, the status of semantics resembles that of stylistics, also founded around the threshold of the twentieth century, of which Paul Valéry said that there are a multitude of definitions, corresponding to the diversity of its object of study. Similarly, in the case of semantics, according to the different meanings of the sense, there can be defined several directions of research. However, a clear demarcation between linguistic semantics and the nonlinguistic one (in other domains) was possible due to the methodologies involved, which are also quite different: the semantics of language describes / studies the sense employing strictly
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