MUSICA 2/2015 STUDIA UNIVERSITATIS BABEŞ-BOLYAI MUSICA 2/2015 DECEMBER REFEREES: Acad. Dr. István ALMÁSI, Folk Music Scientific Researcher, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Univ. Prof. Dr. István ANGI, „Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Gabriel BANCIU, „Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Habil. Stela DRĂGULIN, Transylvania University of Braşov, Romania Univ. Prof. Dr. Noémi MACZELKA DLA, Pianist, Head of the Arts Institute and the Department of Music Education, University of Szeged, "Juhász Gyula" Faculty of Education, Hungary College Prof. Dr. Péter ORDASI, University of Debrecen, Faculty of Music, Hungary Univ. Prof. Dr. Pavel PUŞCAŞ, „Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Valentina SANDU-DEDIU, National University of Music, Bucharest, Romania Univ. Prof. Dr. Ilona SZENIK, „Gh. Dima” Music Academy, Cluj-Napoca, Romania Acad. Univ. Prof. Dr. Eduard TERÉNYI, „Gh. Dima” Music Academy, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Acad. College Associate Prof. Dr. Péter TÓTH, DLA, University of Szeged, Dean of the Faculty of Musical Arts, Hungary, Member of the Hungarian Academy of Arts – Budapest, Hungary EDITOR-IN-CHIEF: Associate Prof. Dr. Gabriela COCA, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania PERMANENT EDITORIAL BOARD: Associate Prof. Dr. Éva PÉTER, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Miklós FEKETE, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Assist. Prof. Dr. Adél FEKETE, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Assist. Prof. Dr. Noémi MIKLÓS, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Assist. Prof. Dr. Erzsébet WINDHAGER-GERÉD, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Visiting Prof. Dr. Júlia KÖPECZI-KIRKÓSA, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania ENGLISH TRANSLATIONS COORDINATOR: Maria COZMA (London, United Kingdom) Studia UBB Musica is sponsored by the Faculty of Reformed Theology, Theology and Musical Pedagogy Department, Babeş-Bolyai University, Cluj-Napoca, Romania Dean: Univ. Prof. Dr. János MOLNÁR Front cover: Daddi Bernardo: Four Musical Angels (c. 1345) http://www.wga.hu/support/list/index_a.html YEAR (LX) 2015 MONTH DECEMBER ISSUE 2 S T U D I A UNIVERSITATIS BABEŞ-BOLYAI MUSICA 2 STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] SUMAR – SOMMAIRE – CONTENTS – INHALT ANNIVERSARIES OF COMPOSERS GABRIELA COCA, Ede Terényi is 80 Years Old. A Life Serving Art, Teaching and the Musical Sciences ............................................................................ 5 MUSICAL THEORY ÉVA PÉTER, György Maróthi’s Writings in the Field of Music Theory ............ 15 MUSICAL STYLISTIC CIPRIAN ŢUŢU, The Syntactic and Semantic Dimensions of the Musical Language in Kyrie from Joseph Haydn’s Harmoniemesse ........................ 25 MIKLÓS FEKETE, Musikalische Konzeption und Kompositionsstil von César Franck in den orchestralen und instrumentalen Werken seiner letzten Schaffensjahre (César Franck’s Musical Conception and Compositional Style in His Orchestral and Instrumental Works of his Last Creative Years) ...... 45 OPERA STAGING DIANA TODEA, Alternatives in Contemporary Opera Staging. Hänsel and Gretel by Engelbert Humperdinck and the Input of the Technical Director ................................................................................................. 63 MUSICAL PEDAGOGY BENCE ASZTALOS, Musik Kreativ+ ..................................................................... 85 ÁGNES GYOVAI – TÍMEA MÁRIA HEVESI, The Circle Symbol in Music Education .................................................................................................. 95 MUSICAL THERAPY STELA DRĂGULIN – VLAD ENIU, Understanding Indian Traditions in Music Therapy ................................................................................................... 109 STELA GUŢANU, Melotherapy and the Ancient Civilizations ........................ 121 MUSICAL ANALYSES ADÉL FEKETE, II. Prayers of Female Protagonists in Giuseppe Verdi’s Operas. Giselda’s Prayer: Salve Maria from Verdi’s I Lombardi alla prima crociata ...... 129 DOROTTYA MAROSVÁRI, Maurice Ravel: Klavierkonzert in G Dur (Analyse des zweiten Satzes „Adagio assai“) (Maurice Ravel: Piano Concerto in G-dur) (Analysis of the Second Part) ........................................................143 SANDA VALENTINA HÎRLAV MAISTOROVICI, Das Religiöse Schaffen der Komponistin Carmen Petra Basacopol (The Religious Creation of the Composer Carmen Petra Basacopol) ...................................................... 163 LUMINIŢA GUŢANU-STOIAN, The Importance and Specifics of the Vocal - Choral Analysis in a Choral Work ............................................................ 191 BOOK REVIEWS Music Sketches by Friedemann Sallis: An Outstanding Editorial Release from Cambridge University Press (BIANCA ŢIPLEA TEMEŞ)................. 203 Ştefan Niculescu, eulogized in Germany for his contribution to the current European musical heritage (SANDA VALENTINA HÎRLAV MAISTOROVICI) .. 209 The Musicality of Style – Lászlóffy Zsolt’s Essays on Music (Lászlóffy Zsolt: A stílus zeneisége. Partium Kiadó, Nagyvárad, 2014) (ATTILA FODOR) ........ 213 FilmHang-Lexikon by Aaron Fazakas (The Encyclopaedia of MovieSounds) (GABRIELA COCA) ................................................................................. 215 Folklore Usage in Romanian Composing, Since Ciprian Porumbescu to Our Days (Componistica românească de valorificare a folclorului, de la Ciprian Porumbescu până în zilele noastre), Ed. Lidana, Suceava, 2015 (GABRIELA COCA) ........................................................................ 219 CONTRIBUTORS ........................................................................................... 223 SUBSCRIPTION ............................................................................................. 231 AGREEMENT OF CHANGE BETWEEN THE INSTITUTION ...................... 233 INVITATION FOR PUBLISHING.................................................................... 235 STUDIA UBB MUSICA, LX, 2, 2015 (p. 5 - 13) (RECOMMENDED CITATION) EDE TERÉNYI IS 80 YEARS OLD. A LIFE SERVING ART, TEACHING AND THE MUSICAL SCIENCES GABRIELA COCA1 SUMMARY. Author of several hundred musical works, Ede Terényi (b. 1935) is a weighty and original personality within the cultural life of Transylvania. Composing did not mean to him merely a process of artistic creation based on incidental mathematical formulas. His entire being is continuously living within and through music. Music is the meaning of his life, his motivation for existence. He is a man with great sensitivity who lets himself be inspired by a word, an image, a gesture, a verse or a wonderful piece of music he has just heard. His works have been created by spontaneous inspiration, on the one hand and by a steady, conscious work on fine tuning his music, everything that belongs to the so called craftsmanship in composing, on the other. Keywords: Ede Terényi 80, mono operas, art, teaching, musicology. Ede Terényi’s2 compositions form a wide range as far as genre is concerned, from solo pieces to instrumental concerts, from songs to operas, from pieces of chamber music to ample symphonies. The titles of his works usually suggest the main idea of the piece; they are not abstract and mysterious. They express and synthesize the expressive content of the piece, they are relevant and they guide the reception process of the listener. Here is a title for example: "Aranyág" ("Golden Spring") and I quote the author: NOMEN EST OMEN goes the Latin saying and its meaning is valid also for musical pieces. I will express myself in this 1 Associate professor dr. at the Babeş-Bolyai University, Cluj-Napoca, Romania, Reformed Theology and Musical Pedagogy Department. E-mail: [email protected] 2 Foto source: http://ede-terenyi.blogspot.ro/ GABRIELA COCA matter applying a loose translation: the title of a musical piece is also its destiny. Through the decades it became a conviction of mine the idea that the title is not a mere combination of words meant to guide the listener, not just a direct reference to a possible programme of the musical process, but far more than that. The title is a kernel of energy, a blessed source of power emanating to the musical atmosphere of the entire piece. Therefore I avoided using abstract titles so fashionable in the '60s and '70s of the last century. "Aranyág" is such a title. The piece bearing this title is the musical version of a tree called Maggiociondolo (and in Hungarian "golden rain" or "golden branch"), the first of the wonderful spring flowers. I was born when spring was settling in (on March 12th) so it was easy for me to identify with rejuvenation - or in other words - with renewal of nature and man." E.g. 1 Ede Terényi: Golden Spring, Introduzione, p. 1 6 EDE TERÉNYI IS 80 YEARS OLD. A LIFE SERVING ART, TEACHING… Submerging in the atmosphere of some of the composer predecessors he used to dedicate many of his works to the inspiring composer as a Homage to the masters of musical arts.