Grabcz Mrta

(10 találat)
# Cím Abstract Folyóirat Oldalszám
A 80-as vek kompozciinak jelrendszere : jegyzetek Mrtha Istvn hrom mvrl - 1985., 26. évf. 1. szám 92. - 96.o
A narratv analzis szerepe a hangszeres interpretcik sszehasonltsban : Bartk Zene hros hangszerekre, tkre s celestra cm mvnek Adagija abs.
The Role of Narrative Analysis in the Comparative Approach to Performances.
The Adagio of Bartk’s Music for Strings, Percussion, and Celesta
Mrta Grabcz

This article makes an attempt to synthesize the results of some of my earlier researches.
Their aim was to examine in the very details the strategy of the slow movements of Bartk compositions the subject of which is the “meeting of Man and Nature” (Op.10/1 “In Flowers”; Op.12/1 “Preludio”; IVth quartet/III (“Non troppo lento”). With the help of these “intertextual” [comparative] analyses I examine here the “Adagio” of Music for Strings, Percussion and Celesta: namely its strategy (=form) in the specific use of topics (“intonations”).
In the last part of the article I compare the performance of six conductors at the key-moments of the 4th section of this palindromic structure (ABCB’A’).
2004., 42. évf. 3-4. szám 483. - 497.o
A programszersg hatsa a hangszeres formk fejldsre Liszt zongoramveiben - 1980., 21. évf. 3. szám 278. - 300.o
Kt bemutat a prizsi elektronikus zenei hangszerkilltson : ksrlet Etvs Pter s Hugues Dufourt mvnek ismertetsre - 1984., 25. évf. 3. szám 301. - 305.o
Liszt s a „filozfiai eposzok” - 1986., 27. évf. 1. szám 21. - 28.o
Narrativits-elmletek s az elektroakusztikus zene - 1990., 31. évf. 1. szám 108. - 112.o
Narrativits-elmletek s az elektroakusztikus zene abs.
Narrativity and Electroacoustic Music
Mrta Grabcz

This article, finished in 1988, was also published in English and in French (see references in 1st note), It presents the hypothesis that the autonomy, the dominance of new sounds, new sonorities – controlled by the most recent technology – might recreate a belief in narratives and “reason” in the framework of musical composition. In other words: the new sound objects (“objects sonores”) may incite the composer to search for a strory, to return to the narrative type of discourse, in spite of the actual post-modern, “anti-narrative” cultural environment.
Four types of narrative commonly found in electroacoustic music are described. The first two types have the characteristics described by Eero Tarasti in reference to Greimas: the use of descriptive or discoursive musical gentes of past centuries, often called “program music”; and the fragmentation and destruction of traditional narrative forms (see works of Risset, Chion, Subotnick, Reibel, Parmegiani). The third type of new narration uses natural, anthropological or scientific models in the deep structure. (See works of F.-B. Mche, M. Stroppa, C. Miereanu, K. Saariaho.) The fourth type of contemporary narration is generated in the interaction of space, time and timbre, and also by the juxtaposition of different types of “sonorely filled spaces.” (See works of Risset, Stroppa, Mche, Bayle.)
2001., 39. évf. 1. szám 57. - 64.o
Tihanyi Lszl „A kos hava” („Krios”) cm darabja s az Itinraire „iskola” - 1986., 27. évf. 4. szám 361. - 364.o
A zenei jelents hetedik nemzetkzi kongresszusa : Imatra (Finnorszg), 2001. jnius 7-10. - 2001., 39. évf. 3. szám 345. - 351.o
Jegyzetek a mai francia zenrl - 1981., 22. évf. 3. szám 322. - 327.o