DOCSLIB.ORG

Download (12MB)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download (12MB) 10.18132/LFZE.2012.21 Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 10.18132/LFZE.2012.21 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira. A művek elemzése rávilágít arra, hogy a hangszer, melynek több, mint ezer éven át változatlan tradíciója volt, melyen egyféle játékmóddal játszottak egyféle zenét, ma él és virágzik, új irodalma van és játékmódja számos játéktechnikával bővült. Zeneszerzők és előadóművészek egymást inspirálják, új darabok születnek és új lehetőségek nyílnak meg a hichiriki előtt. 10.18132/LFZE.2012.21 NÓRA SALVI EAST-ASIAN DOUBLE-REED INSTRUMENTS AND THE USE OF THE HICHIRIKI IN 20 th CENTURY AND CONTEMPORARY MUSIC DLA DOCTORAL DISSERTATION 2011 Abstract The main force of motivation behind writing the thesis was filling the gap, since no general introductory academic work on the double-reed instruments of the East-Asian region exist in Hungarian or other languages. The accessible literature only covers fractions of the whole topic, and most of that is written in one of the East-Asian languages. In the second part of the dissertation the relationship between hichiriki (a Japanese double-reed instrument) and contemporary music is examined, which is also a current subject, and largely unprocessed. Hichiriki is an instrument that has basically retained its original form from the 7th century to today. Tradition prescribes the exact manner in which to perform the rather limited repertory, which can be viewed as practically unchanged for hundreds of years. Of course, asking the question, whether an instrument like this is capable of change, whether it can be integrated into 20 th century and contemporary music, is inevitable. In the first part of the treatise the author gives an overview of the double-reed instruments, introducing the two basic double-reed instrument types, the ones of cylindrical and that of conical bore, followed by the detailed description of the double-reed instruments of the East-Asian region, also delving into their acoustic qualities. For the second part of the thesis the author collected the accessible scores and recordings of 20th century and contemporary pieces of music written for the hichiriki, and attempts to point out the new traits of playing the instrument through their analysis. The analysis of the works throws light on the fact that this instrument, which has had, for a thousand years an unchanged tradition and only one manner of playing only one kind of music is very much alive today, having a new range of literature, and its manner of playing expanded by several techniques. Composers and performing artists mutually inspire each other, new pieces are born and new perspectives open up before the hichiriki. 10.18132/LFZE.2012.21 i Tartalomjegyzék Tartalomjegyzék Táblázatok jegyzéke.........................................................................................................iii Képek jegyzéke..................................................................................................................iii Kottapéldák jegyzéke.......................................................................................................iv A mellékelt CD anyaga......................................................................................................vi Köszönetnyilvánítás.......................................................................................................viii I. RÉSZ: A DUPLANÁDAS HANGSZEREK JELLEMZŐI.............................................1 1. A duplanádas hangszerek áttekintése..........................................1 1.1 A duplanádas hangszerek definíciója...................................................................1 1.2 A duplanádas hangszerek besorolása...................................................................1 1.2.1 a hagyományos nyugati rendszer szerint...................................................1 1.2.2 a Hornbostel-Sachs rendszer szerint...........................................................2 1.2.3 Ázsiában............................................................................................................3 1.2.3.1 Kína............................................................................................................3 1.2.3.2 Korea..........................................................................................................4 1.2.3.3 Japán .........................................................................................................5 1.3 A duplanádas hangszerekről általában................................................................5 1.3.1 A két alapvető duplanádas hangszertípus..................................................5 1.3.1.1 Hengeres furatú duplanádas hangszerek...........................................6 1.3.1.2 Kúpos furatú duplanádas hangszerek.................................................7 2. Hagyományos duplanádas hangszerek Kelet-Ázsiában.................9 2.1 Kína.............................................................................................................................9 2.1.1 Hengeres furatú duplanádas hangszerek Kínában..................................10 2.1.2 Kúpos furatú duplanádas hangszerek Kínában.......................................32 2.2 Korea........................................................................................................................59 2.3 Japán.........................................................................................................................62 3. A duplanádas hangszerek akusztikája........................................70 3.1 A nád működése.....................................................................................................70 3.2 A különböző furattípusok akusztikus tulajdonságai.......................................72 10.18132/LFZE.2012.21 ii Tartalomjegyzék 3.3 A duplanádas hangszerek alapanyagai..............................................................74 3.4 A kelet-ázsiai duplanádas hangszerek akusztikai jellegzetességei..............75 II. RÉSZ: A HICHIRIKI A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN........................77 4. Hichiriki a hagyományos zenében.............................................. 78 5. Hichiriki a 20-21. századi zenében.............................................86 5.1 Japán zene...............................................................................................................86 5.1.1 Modern gagaku, reigaku..............................................................................87 5.1.2 Szóló hichiriki..............................................................................................108 5.1.3 Versenyművek.............................................................................................115 5.1.4 Kamarazene és ensemble, keveredés nyugati hangszerekkel.............117 5.1.4.1 Több hichiriki......................................................................................117 5.1.4.2 Hichiriki és shō ...................................................................................120 5.1.4.3 Hichiriki és pengetősök.....................................................................124 5.1.4.4 Hichiriki és oboa..................................................................................126 5.1.4.5 Egyéb összeállítások ..........................................................................130 5.2 Nem japán szerzők művei..................................................................................135 5.3 Hichiriki a szórakoztató zenében.....................................................................144 6. Összegzés.................................................................................. 147 FÜGGELÉK...............................................................................................................153 7. Az idegen szavak átírásáról.....................................................
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Studies in Central & East Asian Religions Volume 9 1996
    Studies in Central & East Asian Religions Volume 9 1996 CONTENTS Articles Xu WENKAN: The Tokharians and Buddhism……………………………………………... 1 Peter SCHWEIGER: Schwarze Magie im tibetischen Buddhismus…………………….… 18 Franz-Karl EHRHARD: Political and Ritual Aspects of the Search for Himalayan Sacred Lands………………………………………………………………………………. 37 Gabrielle GOLDFUβ: Binding Sūtras and Modernity: The Life and Times of the Chinese Layman Yang Wenhui (1837–1911)………………………………………………. 54 Review Article Hubert DECLEER: Tibetan “Musical Offerings” (Mchod-rol): The Indispensable Guide... 75 Forum Lucia DOLCE: Esoteric Patterns in Nichiren’s Thought…………………………………. 89 Boudewijn WALRAVEN: The Rediscovery of Uisang’s Ch’udonggi…………………… 95 Per K. SØRENSEN: The Classification and Depositing of Books and Scriptures Kept in the National Library of Bhutan……………………………………………………….. 98 Henrik H. SØRENSEN: Seminar on the Zhiyi’s Mohe zhiguan in Leiden……………… 104 Reviews Schuyler Jones: Tibetan Nomads: Environment, Pastoral Economy and Material Culture (Per K. Sørensen)…………………………………………………………………. 106 [Ngag-dbang skal-ldan rgya-mtsho:] Shel dkar chos ’byung. History of the “White Crystal”. Religion and Politics of Southern La-stod. Translated by Pasang Wangdu and Hildegard Diemberger (Per K. Sørensen)………………………………………… 108 Blondeau, Anne-Marie and Steinkellner, Ernst (eds.): Reflections of the Mountains. Essays on the History and Social Meaning of the Cult in Tibet and the Himalayas (Per K. Sørensen)…………………………………………………………………………. 110 Wisdom of Buddha: The Saṃdhinirmocana Mahāyāna Sūtra (Essential Questions and Direct Answers for Realizing Enlightenment). Transl. by John Powers (Henrik H. Sørensen)………………………………………………. 112 Japanese Popular Deities in Prints and Paintings: A Catalogue of the Exhibition (Henrik H. Sørensen)…………………………………………………………………………. 113 Stephen F. Teiser, The Scripture on the Ten Kings and the Making of Purgatory in Medieval Chinese Buddhism (Henrik H.
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • Culture Teatrali
    Culture Teatrali Studi, interventi e scritture sullo spettacolo 25, Annale 2016 Culture Teatrali SOMMARIO Studi, interventi e scritture sullo spettacolo Annali fondati e diretti da Marco De Marinis Nuova serie LA REGIA IN ITALIA, OGGI n. 25 – 2016 PER LUCA RONCONI 7 Claudio Longhi Direzione: Marco De Marinis Comitato Scientifico: Georges Banu (Université de la Sorbonne Nouvelle, Paris III); «L’unico responsabile sono io»? Josette Féral (Université de la Sorbonne Nouvelle, Paris III); Helga Finter (Justus Appunti di regia, ricordando Luca Ronconi (quasi un’introduzione) Liebig - Universität Giessen); Raimondo Guarino (Università di Roma III); Freddie 41 Luca Ronconi Rokem (Tel Aviv University); Nicola Savarese (Università di Roma III); Richard Il mio Teatro Schechner (New York University - Tisch School). Redazione: Fabio Acca, Laura Budriesi, Roberta Ferraresi, Claudio Longhi (resp.), 52 Mirella Schino Silvia Mei, Enrico Pitozzi. C/o Dipartimento delle Arti - Università degli Studi di Teatro come bene comune. La regia al suo nascere e il Novecento Bologna, via Barberia 4, 40123 Bologna. 66 Marco De Marinis Regia e post-regia: dalla messa in scena all’opera-contenitore Contatti online rivista: www.cultureteatrali.org - [email protected] 79 Lorenzo Mango Direttore responsabile: Marco De Marinis La regia dopo la regia. Tre variazioni sul tema 94 Enrico Pitozzi Peer review: la pubblicazione di un contributo su «Culture Teatrali» comporta il pas- Comporre secondo la logica del corpo: saggio attraverso un sistema di peer review affidato al comitato scientifico e alla redazio- un affresco della scena coreografica italiana ne. È in corso di adozione il sistema di valutazione esterna double blind peer review.
    [Show full text]
  • Woodwind Family
    Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute.
    [Show full text]
  • Khmer Arts Ensemble (In Order of Appearance) the Lives of Giants Akaeng Khameaso (Child) Chea Socheata Uma Keo Kunthearom
    CAL PERFORMANCES PRESENTS CAST Sunday, October 2, 2011, 3pm The Lives of Giants Zellerbach Hall CAST Khmer Arts Ensemble (in order of appearance) The Lives of Giants Akaeng Khameaso (child) Chea Socheata Uma Keo Kunthearom Tevabot (male angels) Kong Bonich, Lim Chanboramy, Sao Phirom, Sao Somaly Tep Thida (female angels) Long Chantheary, Mot Pharan, Pum Molyta, Som Saymalyrou Akaeng Khameaso (adult) Rin Sreyleak Preah Eyso (Shiva) Chao Socheata Preah Visnu (Vishnu) Sot Sovanndy Instrumentalists Roneat Ek (xylophone) Nil Sinoeun Sralai (quadruple-reed oboe) Touch Sarin Sampho & Skor Thom (drums) Ros Sokun Choreography, Lyrics & Music Arrangements Sophiline Cheam Shapiro Gong Thom (circle gong) Soun Phally Scenic & Lighting Designs Marcus Doshi Singer Cheam Chanthopeas Costume Designs Merrily Murray-Walsh Dresser Sam Ratha Producer Khmer Arts Costume Makers Angkor Thom Handicrafts, Iris Color Studio, John Shapiro, Executive Director Kum Sokunthea, Hout Sokleng, Sim Chanmoly, Vuthy Tailors and artists of the Khmer Touring General Manager Lisa Booth Management, Inc. Arts Ensemble Deirdre Valente, Vice President The Lives of Giants premiered in the United States on September 25, 2010, at Technical Director Robert W. Henderson Palmer Auditorium, Connecticut College, New London, Connecticut. The creation of The Lives of Giants has been made possible, in part, with support from the American Recovery Running Time 90 minutes (without intermission) and Reinvestment Act through the National Endowment for the Arts; the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; and the National Dance Project of the New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and additional funding provided by the Andrew W.
    [Show full text]
  • Selva De Varii Passaggi
    Francesco Rognoni Selva de Varii Passaggi (1620) Avvertimenti alli Benigni Lettori Translated by Sion M. Honea 1 Translator’s Preface We must be grateful for Rognoni’s book, but it must also stand as something of an enigmatic anachronism. Rognoni’s exact dates are uncertain, but he was no doubt middle-aged by 1620, the date of publication. His father Riccardo had published his own book in 1592, at what seems to have been the height, or more likely the last flowering of the diminution technique in the 1590’s, along with those of Conforto, Bovicelli and Zacconi. Maffei had produced the essential document on the subject in 1562 and Caccini delivered the first blow to, or perhaps the eulogy on it in 1601, dismissing it as an irrelevant anachronism from a bygone age. This in fact it was. In a sense, the practice has more in common with the several techniques of improvised counterpoint on chant melodies that medieval choristers trained in, and even seems rather a holdover as applied to the renaissance motet or madrigal. It was a technique of thrillingly virtuosic potential but essentially barren of internal emotional significance. Rognoni himself realized this, it seems, and presents a startling indictment of singers who saw themselves, their voices and their technique of greater value than the words and the affect. More importantl evidence of his understanding is that his book begins with his superb presentation of the types of ornaments that Caccini’s new emotional performance used. Then it moves on to the diminution technique as incorporating these elements of the new style.1 The book is in two parts, the first for voice and the second for instruments.
    [Show full text]
  • Bulsechul Ensemble
    bulsechul ensemble 불세출 박계전 김용하 Park Gyejeon 배정찬 Kim Yonghwa 최덕렬 Bae Jungchan 이준 Choi Deokyol 박제헌 Lee Joon Park Jehun 김진욱 전우석 Kim Jinwook Jeon Wooseok [email protected] Facebook.com/bulsechul Youtube.com/bulsechul 풍류도시 연 북청 달빛 종로풍악 신천풍류 푸너리 지옥가 Flowing City Kite Bukcheong Moonlight Song of Jongno Sincheonpungryu Puneori Divine Song 6:03 4:24 8:10 6:57 8:07 8:20 6:11 7:32 • • • • • • • • 작곡 최덕렬 작곡 김용하 작곡 김용하 작곡 최덕렬 작곡 최덕렬 작곡 박계전 작곡 이준 작·편곡 불세출 Composed by Composed by Composed by Composed by Composed by Composed by Composed by Composed and Choi Deokyol Kim Yonghwa Kim Yonghwa Choi Deokyol Choi Deokyol Park Gyejeon Lee Joon Arranged by Bulsechul 1 2 3 4 5 6 7 8 이준 가야금, 꽹과리 가야금 가야금 가야금 가야금 가야금, 꽹과리 Lee Joon Gayageum, Kkwaenggwari Gayageum Gayageum Gayageum Gayageum Gayageum, Kkwaenggwari 전우석 거문고, 바라 거문고 거문고 거문고 거문고 거문고 거문고, 바라 Jeon Wooseok Geomungo, Bara Geomungo Geomungo Geomungo Geomungo Geomungo Geomungo, Bara 김진욱 대금, 단소, 퉁소, 징 대금 대금, 단소 대금 대금, 퉁소 대금, 징 Kim Jinwook Daegeum, Danso, Tungso, Jing Daegeum Daegeum, Danso Daegeum Daegeum, Tungso Daegeum, Jing 박제헌 아쟁, 양금, 바라 아쟁 아쟁, 양금 아쟁 아쟁, 바라 Park Jehun Ajaeng, Yanggeum, Bara Ajaeng Ajaeng, Yanggeum Ajaeng Ajaeng, Bara 배정찬 장구, 소리 장구 장구 장구 장구, 소리 Bae Jungchan Janggu, Vocal Janggu Janggu Janggu Janggu, Vocal 박계전 피리, 생황, 태평소 피리, 태평소 생황 피리 피리, 생황 피리, 태평소, 생황 Park Gyejeon Piri, Saenghwang, Taepyeongso Piri, Taepyeongso Saenghwang Piri Piri, Saenghwang Piri, Taepyeongso, Saenghwang 해금, 꽹과리 해금 해금 해금 해금 해금, 꽹과리 Kim Yonghwa Haegeum, Kkwaenggwari Haegeum Haegeum Haegeum Haegeum Haegeum, Kkwaenggwari 최덕렬 기타, 징, 정주 기타 기타 기타 기타 기타 징, 정주 징 Choi Deokyol Acoustic Guitar, Jing, Jeongju Acoustic Guitar Acoustic Guitar Acoustic Guitar Acoustic Guitar Acoustic Guitar Jing, Jeongju Jing 지옥가 Divine Song 낮고 느리다.
    [Show full text]
  • Kelet-Ázsiai Duplanádas Hangszerek És a Hichiriki Használata a 20
    Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira. A művek elemzése rávilágít arra, hogy a hangszer, melynek több, mint ezer éven át változatlan tradíciója volt, melyen egyféle játékmóddal játszottak egyféle zenét, ma él és virágzik, új irodalma van és játékmódja számos játéktechnikával bővült.
    [Show full text]