Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Bu səhifədəki naviqasiya:
- WRITINGS
- Familiar style.
- Famintsïn, Aleksandr Sergeyevich
- WORKS
- BIBLIOGRAPHY
Falvy, Zoltán(b Budapest, 28 Aug 1928). Hungarian musicologist. He studied music in Budapest at the National Conservatory and the Academy of Music, and took a doctorate at the university in 1952 with a dissertation on manuscripts containing music in Budapest libraries. While working in the music department of the National Széchényi Library (1952–61) he was head of the music section at the Hungarian Academy of Sciences (1956–61), where in 1961 he helped to establish the Bartók Archives, becoming a research assistant and then scientific secretary. In 1963 he took a kandidátus degree in musicology with a dissertation on the music of three Hungarian rhymed Offices, which in 1964 served as his Habilitationsschrift at Budapest University, where he has lectured on medieval music. After directing the music history museum at the Musicological Institute of the Hungarian Academy of Sciences (1970–73), he became assistant director and subsequently director (1980–98) of the institute. He took the DSc in musicology in 1986. He is a member of the editorial board of Studia musicologica. His research is chiefly concerned with the connection between Hungarian and European early music, particularly medieval music; he has studied analogies between their melodies and notation, the development of the antiphon and other early forms, the music of the Hungarian troubadours and music of the 16th to 18th centuries. WRITINGSBudapesti könyvtárakban lévő zenei vagy hangjelzet-töredéket tartalmazó kódexeink [Manuscripts containing music or notation fragments in the libraries of Budapest] (diss., U. of Budapest, 1952; abridged in ‘A Pray-kódex zenei paleográfiája’ [The musical palaeography of the Pray Codex], Zenetudományi tanulmányok, ii (1954), 509–33 [with Eng. summary, 557–8]) ‘A gráci antifonárium’ [The antiphonary of Graz], Zenetudományi tanulmányok, iv (1955), 17–49 [with Eng. and Ger. summaries] with D. Keresztury and J. Vécsey: A magyar zenetörténet képeskönyve [The history of Hungarian music in pictures] (Budapest, 1960) ‘Spielleute im mittelalterlichen Ungarn’, SM, i (1961), 29–64 ‘Zur Frage von Differenzen der Psalmodie’, SMw, xxv (1962), 160–73
‘Über Antiphonvarianten aus dem österreichisch-ungarisch-tschechoslowakischen Raum’, SMw, xxvi (1964), 9–24 ‘Benedic regem cunctorum: der Weg einer mittelalterlichen Weise’, SMw, xxvii (1966), 8–17 ‘Speer: musicalisch-türckischer Eulen-Spiegel’, SM, xii (1970), 131–51 ‘Danses du XVIIIe siècle en Hongrie dans la collection “Linus”’, SM, xiii (1971), 15–59 ‘Die arabische und die europäische Musik’, Musica antiqua IV: Bydgoszcz 1975, 407–20 ‘Bölcs Alfonz cantigáinak hangszerábrázolásáról’ [On the description of instruments in the cantigas of King Alfonso], Magyar zene, xviii (1977), 184–90 ‘Troubadour Music as a Historical Source of European Folk Music’, Historische Volksmusikforschung: Limassol 1982, 61–72 ‘La cour d’Alphonse le Sage et la musique européenne’, SM, xxv (1983), 159–70
‘Manuskripte, Herkunft und Verzierung in der Troubadour-Musik’, SM, xxvii (1985), 193–202 Mediterranean Culture and Troubadour Music (Budapest and New York, 1986) ‘Angel Musicians on a Fourteenth-Century French Reliquary’, Imago musicae, iv (1987), 229–38 ‘Middle East European Court Music: 11–16th Centuries’, SM, xxix (1987), 63–105 ‘Les mouvements hérétiques du Moyen-Age et les troubadours’, Annales universitatis scientiarum budapestiensis de Rolando Eötvös nominatea: sectio philologica moderna, xix (1988–90), 61–70 ‘Blasinstrumente in den Kantaten von Paul Esterházy’, Festschrift zum 60. Geburstag von Wolfgang Suppan, ed. B. Habla (Tutzing, 1993), 275–98 ‘Medieval Secular Monody Research after H. Anglès: Ornamentation in Troubadour Music’, SM, xxxv (1993–4), 77–92 ‘Musical Instruments in the Kaufmann Manuscripts, Budapest’, SM, xxxvii (1996), 231–48 VERA LAMPERT Familiar style.A term in general use to denote homophonic or note-against-note texture in Renaissance polyphonic music (see Texture). Loys Bourgeois seems to have been the first to use the term; in his description of the three styles contained in the 1547 publication Le premier livre des pseaulmes, a style called ‘familiere, ou vaudeville’ was described as being a free note-against-note style that allowed for some ornamentation, either in the melody or in the accompanying voices. The term seems to have acquired its present currency from its usage by Giuseppe Baini (in Italian, ‘stile familiare’) in his biography of Palestrina (Memorie storico-critiche, ii, Rome, 1828/R, pp.415ff) as a synonym for ‘stile semplice’, in contrast to the contrapuntal style or ‘stile artifizioso’. STEPHEN R. MILLER Famintsïn, Aleksandr Sergeyevich(b Kaluga, 5 Nov 1841; d Ligovo, nr St Petersburg, 6 July 1896). Russian music historian, critic and composer. He had well-to-do parents and studied natural sciences at St Petersburg University and music privately with M.L. Santis; from 1862 to 1864 he studied privately and at the Leipzig Conservatory with Moritz Hauptmann, E.F. Richter and Carl Riedel, and also (1864–5) studied instrumentation with Max Seifriz at Löwenberg. Returning to St Petersburg he was appointed professor of music history and aesthetics at the conservatory (1865–72); between 1869 and 1871 he edited the periodical Muzïkal'nïy sezon and later contributed to Bessel’s Muzïkal'nïy listok and other journals. From 1870 to 1880 he was secretary to the directorate of the Imperial Russian Musical Society. His four-act opera Sardanapal was produced in 1875 and the vocal score was published by Bessel, but it had so little success that his second opera, the four-act Uriel Acosta (1883), was never performed (though a vocal score was published by Rahter of Hamburg). Famintsïn devoted his later years to a series of historical monographs of some value and to a dictionary of Russian musicians which he never completed. He also translated into Russian pedagogical works by Richter (on harmony, and on counterpoint and fugue), Draeseke (on modulation) and A.B. Marx, and published two collections of folksongs, Russkiy detskiy pesennik (‘Russian Children’s Songbook’) and Bayan (1888). But he is chiefly remembered for his critical writings in which he scathingly attacked the music of the Balakirev-Stasov circle from the point of view of the German academicism in which he was steeped; in return he was libelled by Stasov for his share in an intrigue to get Balakirev replaced as conductor of the Russian Musical Society’s concerts by his own friend Seifriz, and lampooned by Musorgsky in two songs, The Classicist and The Peepshow. WORKS
WRITINGSDrevnaya indo-kitayskaya gamma v Azii i Yevrope, s osobennïm ukazaniyem na yeyo proyavleniye v russkikh narodnïkh napevakh [The ancient Indo-Chinese scale in Asia and Europe, with a special indication of its manifestation in Russian folk melodies] (St Petersburg, 1889) Skomorokhi na Rusi [Skomorokhi in Russia] (St Petersburg, 1889/R) Gusli: russkiy narodnïy muzïkal'nïy instrument [The gusli: a Russian national musical instrument] (St Petersburg, 1890/R) Domra i srodnïye yey muzïkal'nïye instrumentï russkogo naroda: balalayka, kobza, bandura, torban, gitara [The domra and related musical instruments of the Russian people] (St Petersburg, 1891/R) BIBLIOGRAPHYYu.A. Kremlyov: Russkaya mïsl' o muzïke [Russian thoughts on music], ii (Leningrad, 1958) G.B. Bernandt and I.M. Yampol'sky: Kto pisal o muzïke [Who has written about music], iii (Moscow, 1979) [incl. list of writings] R.C. Ridenour: Nationalism, Modernism and Personal Rivalry in Nineteenth-Century Russian Music (Ann Arbor, 1981) GERALD ABRAHAM Yüklə 17,54 Mb. Dostları ilə paylaş:
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