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Abstract

The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic statement. This article analyzes two works by the Hungarian composer and ethnomusicologist László Lajtha (1892–1963): his string quartets nos. 7 and 10 completed in the early 1950s. Through these two quartets I attempt to fathom the aesthetic, ideological and personal motives behind Lajtha's use of folk material in classical composition. Analysis of the composing process involved and the reception the two works received reveal the manifold scope that folk music brings as a source of inspiration.

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The aim of this work is to provide a possible definition for Renaissance antiquarianism. This cultural pathway, which influenced the way the past was interpreted between the fourteenth and seventeenth centuries, represented a methodological perspective which involved the cross-referencing of heterogeneous sources, strongly linked to mankind’s perception of time and that helped shape a renewed historical consciousness. Focus will be devoted to a possible history of the phenomenon and a general explanation of its methodology.

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Abstract

This is a contribution to the recent discussions about the significance of Renaissance form for conteporaries in the sense of classical traditions and/or of Italian Renaissance traditions as represented by L. Klenze in Muich and by K.F. Schinkel in Berlin. The Author examines the influence of Florentine Renaissance on Schinkel as models for Berlin's middle class palais and bank buildings.

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In the present paper I try to point out the importance of imitation as a literary tool in the historiography of the early Byzantine period. Dexippus, Priscus, and Procopius used the description of the siege of Plataea as a base text for imitation. The primary aim of these authors was to continue the classical tradition through imitation and to create something new at the same time.

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Quarterly 34 , pp. 179 – 194 . Feeney , D. C. 1993 : The Gods in Epic: Poets and Critics of the Classical Tradition . Oxford Fränkel , H. (ed.) 1961 : Apollonii Rhodii Argonautica . Oxford Hershkowitz , D. 1998 : Valerius Flaccus

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Classical Tradition. European Journal of the History of Economic Thought 1: 129-160. Von Neumann's Growth Model and the Classical Tradition European Journal of the History of Economic Thought

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.1 , pp. 179 – 194 . Feeney , D. C. 1991 : Vergil’s Aeneid . In The Gods in Epic. Poets and Critics of the Classical Tradition , Oxford–New York, pp. 129 – 187 . Ferri , G. 2010 : Tutela urbis. Il significato e la concezione della divinità

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. (eds.): Magic and the Classical Tradition . (Warburg Institute Colloquia 7.) London — Turin, 37–58. Schwartz , Martin 1996: Sasm, Sesen, St. Sisinnios, Sesengen Barpharanges, and... ’semanglof’, Bulletin of the Asia Institute

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