<\/p>\n
<\/p>\n
Thomas Apostolopoulos, Kyriakos Kalaitzidis ed. \u2013 Rediscovered Musical Treasures: Exegeses of Secular Oriental Music, Ed. and transcribed from Post-Byzantine Music Manuscripts into Staff Notation<\/em> (Editura UNMB, 2019)<\/strong><\/p>\n O direc\u021bie important\u0103 \u00een care Direc\u021bia de Cercetare, Inovare \u0219i Informare \u0219i Editura Universit\u0103\u021bii Na\u021bionale de Muzic\u0103 din Bucure\u0219ti s-au dezvoltat \u00een ultimii ani – \u00een consens cu tendin\u021bele interna\u021bionale \u00een cercetare – este aceea a public\u0103rii ultimelor cercet\u0103ri \u00een ceea ce prive\u0219te decriptarea \u0219i transcrierea documentelor muzicale. \u00cen anul 2019 a fost facilitat\u0103 editarea de c\u0103tre cercet\u0103torii Thomas Apostolopoulos \u0219i Kyriakos Kalaitzidis a volumului \u00een limba englez\u0103 Rediscovered musical treasures: exegeses of secular oriental music, ed. and transcribed from post-Byzantine music manuscripts into staff notation<\/em>. Titlul a fost realizat \u00een cadrul proiectului Muzicile Elitelor. Orient \u0219i Occident \u00een muzicile saloanelor princiare \u0219i boiere\u0219ti din Principatele Rom\u00e2ne \u00een secolul al XIX-lea<\/em> (CNFIS-FDI-2019-0171) \u0219i lansat la conferin\u021ba Societ\u0103\u021bii Interna\u021bionale de Muzicologie \u2013 organism suprem de cercetare muzicologic\u0103 \u00een lume, Musical and Cultural Osmoses in the Balkans<\/em>, care s-a desf\u0103\u0219urat \u00een perioada 2-6 septembrie 2019 la UNMB. Obiectivul acestui demers publicistic este de a oferi cercet\u0103torilor, ansamblurilor de interpre\u021bi \u0219i studen\u021bilor din toat\u0103 lumea oportunitatea de a studia tradi\u021bii muzicale, genuri \u0219i crea\u021bii sonore fanariote \u0219i otomane, transcrise dup\u0103 nota\u021bii bizantine care au supravie\u021buit secolelor XVII-XIX. Totodat\u0103, din perspectiva interpretativ\u0103, gra\u021bie acestei ini\u021biative (ce poate fi \u00eencadrat\u0103 \u00eentr-o mi\u0219care european\u0103 mai ampl\u0103 a ultimelor decenii, curentul Early Music<\/em>), publicul va putea cunoa\u0219te \u00een premier\u0103 lucr\u0103rile muzicale incluse, de o real\u0103 importan\u021b\u0103 estetic\u0103 \u0219i istoric\u0103.<\/p>\n <\/p>\n Nicolae Gheorghi\u021b\u0103 ed. \u2013 Muzici ale saloanelor din Principatele Rom\u00e2ne \u00een prima jum\u0103tate a secolului al XIX-lea<\/em>, vol. I (Recuperare manuscris anonim de la aprox. 1830; con\u021bine studii introductive bilingve \u2013 \u00een rom\u00e2n\u0103 \u0219i englez\u0103 \u2013 de Speran\u021ba R\u0103dulescu \u0219i Dan Buciu, Editura UNMB, 2019)<\/strong><\/p>\n \u00cen cadrul proiectului Muzicile Elitelor. Orient \u0219i Occident \u00een muzicile saloanelor princiare \u0219i boiere\u0219ti din Principatele Rom\u00e2ne \u00een secolul al XIX-lea<\/em> (CNFIS-FDI-2019-0171), Nicolae Gheorghi\u021b\u0103 a avut ini\u021biativa public\u0103rii unui prim volum din seria Muzici ale saloanelor din Principatele Rom\u00e2ne \u00een prima jum\u0103tate a secolului al XIX-lea<\/em>. Precedat\u0103 de studii introductive bilingve semnate de nume reprezentative ale etnomuzicologiei \u0219i compozi\u021biei rom\u00e2ne\u0219ti, Speran\u021ba R\u0103dulescu \u0219i Dan Buciu, culegerea aduce la lumin\u0103, prin recuperarea unui manuscris anonim din jurul anului 1830 \u2013 aflat \u00een Biblioteca Academiei Rom\u00e2ne din Bucure\u0219ti \u2013 un repertoriu de salon pentru pian inedit. Ca \u00een cazul oric\u0103rui document manuscris de epoca\u0306, recuperarea sa \u00een vederea tip\u0103ririi \u0219i reintroducerii \u00een circuitul interpretativ este un proces complex, ce necesita\u0306 cuno\u0219tin\u021be vaste \u0219i competen\u021be diferite, de la cele de lingvistica\u0306 \u0219i paleografie (inclusiv muzicala\u0306), p\u00e2n\u0103 la cele de specialitate strict muzicala\u0306 (teoria muzicii, muzicologie, stilistica\u0306 muzicala\u0306 etc.).<\/p>\n <\/p>\n Nicolae Gheorghi\u021b\u0103 ed. \u2013 Muzici ale saloanelor din Principatele Rom\u00e2ne \u00een prima jum\u0103tate a secolului al XIX-lea<\/em>, vol. II (Recuperare manuscris anonim de la 1825; con\u021bine studiu introductiv bilingv de Nicolae Gheorghi\u021b\u0103, Editura UNMB, 2019)<\/strong><\/p>\n D\u0103ruit la 1 august 1824, de mademoiselle Euphrosina Ghyka, doamnei Elisabetta Franchini, ca gest de prietenie, \u00een timp ce acestea se aflau la Odesa, manuscrisul nr. 2663 de la Biblioteca Academiei Rom\u00e2ne din Bucure\u0219ti a fost \u00eentocmit, cel mai probabil, de-a lungul c\u00e2torva ani, dovad\u0103 fiind num\u0103rul mare de pagini al codicelui, precum \u0219i diversitatea \u0219i eterogenitatea muzicilor consemnate de mai multe m\u00e2ini, ale c\u0103ror grafii pot fi lesne diferen\u021biate. Valoarea documentar\u0103 a manuscrisului nr. 2663 de la BAR este una mai mult dec\u00e2t relevant\u0103. Amploarea antologiei (152 de pagini) \u0219i num\u0103rul mare de piese pe care aceasta le con\u021bine (168!) sunt un alt argument al excep\u021bionalit\u0103\u021bii codicelui.\u00a0Partitura este ap\u0103rut\u0103 \u00een cadrul proiectului UNMB \u201eMuzicile Elitelor. Orient \u0219i Occident \u00een muzicile saloanelor princiare \u0219i boiere\u0219ti din Principatele Rom\u00e2ne \u00een secolul al XIX-lea\u201d<\/em> finan\u021bat de Fondul de dezvoltare institu\u021bional\u0103: CNFIS-FDI-2019-0171.<\/p>\n George Enescu \u2013 Simfonia a IV-a<\/em> (lucrare \u00een manuscris, finalizat\u0103 de Pascal Bentoiu, \u0219i studiu introductiv (bilingv) de Dan Dediu, Editura UNMB, 2020)<\/strong><\/p>\n Schi\u021bat\u0103 \u00een integralitatea sa \u00een 1934, apoi orchestrat\u0103 par\u021bial, Simfonia a IV-a \u00een mi minor de George Enescu a z\u0103cut \u00een manuscris mai mult de jum\u0103tate de secol. \u00cen 1996, dup\u0103 o munc\u0103 de mai mul\u021bi ani de descifrare \u0219i orchestrare, compozitorul Pascal Bentoiu a reu\u0219it s\u0103 finalizeze orchestra\u021bia simfoniei \u0219i s-o propun\u0103 interpre\u021bilor \u0219i publicului. [..] Actuala edi\u021bie a \u00eendreptat \u0219i anumite gre\u0219eli ce apar \u00een partitura general\u0103.[\u2026] Sunt \u00eendreptate \u00een edi\u021bia de fa\u021b\u0103 \u0219i anumite sc\u0103p\u0103ri, at\u00e2t \u00een grafia lui Enescu, c\u00e2t \u0219i \u00een cea a lui Bentoiu: acciden\u021bi care lipsesc sau sunt gre\u0219it pu\u0219i, lipsa semnului de octavizare, a unor legato-uri de prelungire etc. Un rol determinant l-a avut flautistul \u0219i dirijorul \u0218tefan <\/p>\n Nicolae Gheorghi\u021b\u0103 ed. <\/strong>\u2013 19th-Century Salon Music from the Balkans, <\/strong><\/em>volum colectiv<\/strong> (Editura UNMB, 2020)<\/strong><\/p>\n In the past years, the Doctoral School and the Research, Innovation and Information De\u00adpartment of the National University of Music Bucharest (UNMB) ran, in partnership with universities, research institutes and specialized professional bodies in Romania and ab\u00adroad several major interdisciplinary projects of interest in local and international musicolo\u00adgical research.<\/p>\n One such project aimed to study the remarkable socio-cultural institution which deeply marked the long 19th century, the salon, not only considered for its musical contribution, but also seen as an essential tool in the affirmation of modernity, an instrument of transfer, one to construct the social and cultural identity of European elites and in particular of those develop\u00ading in the Balkans in their intense wish to synchronize with Western taste.<\/p>\n Despite the Covid-19-generated avatars, the successful dedicated academic collabora\u00adtions determined the UNMB to continue its projects, so that in 2020 it created the Centre for 19th-Century Music Studies (CNCMS), three issues of Musicology Today and of George Enescu\u2019s Symphony no. 4 completed by Pascal Bentoiu with an introductory study by Dan Dediu.<\/p>\n An exceptional outcome of both these collaborations and the project itself is\u00a0 the anthol\u00adogy 19th-Century Salon Music from the Balkans, the first of its kind. The seven researchers who ventured to investigate archives in order to identify, and to carry out the critical editing of, the thirty-two miniatures are renowned musicologists from Austria, Cyprus, Greece, Serbia and Romania: Haiganu\u0219 Preda-Schimek (Vienna), Avra Xepapadakou (University of Nicosia), Alexandros Charkiolakis (The Friends of Music Society, Athens), Marijana Kokanovi\u0107 Markovi\u0107 (University of Novi Sad), Dalia Simona Rusu-Persic (George Enescu National University of Arts, Ia\u0219i), Emese S\u00f3falvi\u00a0 (Babe\u0219-Bolyai University, Cluj-Napoca), Erich T\u00fcrk (Gheorghe Dima National Academy of Music, Cluj-Napoca).<\/p>\n The featured miniatures have a certain diversity of timbral combinations: if most of them are for solo piano, there are also some duets for voice and piano or even pieces for voice with cello and piano accompaniment. They are introduced by remarkable studies with comprehen\u00adsive analyses, comments and annotations on each group of works, their origin, authors, so\u00adcio-cultural context and targeted audience etc., the musicologists thus offering an illustrative synthesis of the genre which had a profound effect on the construction of musical ambiances of 19th-century Balkans elites, in this case Greece, Serbia and the Romanian principalities of Wallachia, Moldavia, and Transylvania.<\/p>\n Musicology Today<\/em><\/strong><\/p>\n Fondat\u0103 \u00een 2010 de c\u0103tre prof. univ. dr. Valentina Sandu-Dediu, Musicology Today, Journal of the National University of Music Bucharest<\/em> (ISSN 2067-5364; ISSN-L 2067-4717) este o revist\u0103 online de specialitate a Universit\u0103\u021bii Na\u021bionale de Muzic\u0103 din Bucure\u0219ti, cu apari\u021bie trimestrial\u0103 \u00een limbile englez\u0103, german\u0103 \u0219i francez\u0103. Indexat\u0103 \u00een unele dintre cele mai importante baze de date interna\u021bionale \u2013 EBSCO din 2012, R\u00e9pertoire International de Litt\u00e9rature Musicale (RILM) din 2012 \u0219i, respectiv, ERIH Plus din 2016 \u2013 Musicology Today<\/em> apare \u0219i \u00een format tip\u0103rit la Editura Universit\u0103\u021bii Na\u021bionale de Muzic\u0103 din Bucure\u0219ti, cu o frecven\u021b\u0103 anual\u0103, fiecare volum reunind cele patru numere corespunz\u0103toare unui an calendaristic.<\/p>\n Muzica secolului al XIX-lea reprezint\u0103 o tematic\u0103 recurent\u0103 \u00een numerele revistei. De pild\u0103, numerele 3 \u0219i 4 din 2019 sunt apari\u021bii unitare ce reunesc comunic\u0103ri din conferin\u021ba Elites and <\/em>Their Musics: Music and Music-Making in the 19th-Century South-Eastern Europe Salons<\/em>, g\u0103zduit\u0103 de UNMB \u00een noiembrie 2019. Cele dou\u0103 publica\u021bii, grupate \u00een jurul Saloanelor din Europa de Sud-Est \u00een secolul al XIX-lea<\/em>, pot fi consultate \u00een regim Open Access pe site-ul revistei (http:\/\/www.musicologytoday.ro\/39\/editorial.php).<\/p>\n","protected":false},"excerpt":{"rendered":" Thomas Apostolopoulos, Kyriakos Kalaitzidis ed. \u2013 Rediscovered Musical Treasures: Exegeses of Secular Oriental Music, Ed. and transcribed from Post-Byzantine Music Manuscripts into Staff Notation (Editura UNMB, 2019) O direc\u021bie important\u0103 \u00een care Direc\u021bia de Cercetare, Inovare \u0219i Informare \u0219i Editura Universit\u0103\u021bii Na\u021bionale de Muzic\u0103 din Bucure\u0219ti s-au dezvoltat \u00een ultimii ani – \u00een…","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"page-templates\/template-pagelist.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-53","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/pages\/53","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/comments?post=53"}],"version-history":[{"count":9,"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/pages\/53\/revisions"}],"predecessor-version":[{"id":938,"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/pages\/53\/revisions\/938"}],"wp:attachment":[{"href":"https:\/\/www.unmb.ro\/cncms\/wp-json\/wp\/v2\/media?parent=53"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/pre>\n
\nDiaconu, a c\u0103rui d\u0103ruire \u0219i munc\u0103 asidu\u0103 a asigurat forma grafic\u0103 a simfoniei enesciene, dup\u0103 o minu\u021bioas\u0103 descifrare \u0219i scriere electronic\u0103 (\u00een programul Dorico) a fiec\u0103rui semn din partitura lui Enescu \u0219i Bentoiu.<\/p>\n