traditions through written, oral, and figurative means. At least in the case of Romanianfolklore, this corpus is still active. Recently I wrote a typological monograph of St. Elijah’s profile in Romanianfolklore, which I hope to be useful for further
“All that an old song tells, really happened.” One of the traditional functions of performing epic songs is that of evoking the past. The act of performing is invested with the value of empathic communication with “old times” and with the ancestors. The agent who mediates between the audience and those who are evoked is the fiddler. These facts may place the performance in a context with a sacred dimension and funeral meanings. Being involved in this specific act of communication, the audience has to play an active role. It has to be trained in “listening”. The traditional coordinates of performing epic songs have changed. The category of epic song entered the passive repertoire of folklore. Using a questionnaire and interviews the author, together with a group of students, tried to draw the status of performing epic songs in Romanian contemporary society.
The beginning of the 1950s marks a turning-point in György Ligeti’s early career. By that time Ligeti had become disappointed regarding his rather marginal position in Hungarian musical life, and he might well have felt some dissatisfaction with his own artistic output, as well. He recognized that he should leave his former style and build up his own expressive means and musical language from elementary material. For this purpose, he set himself certain compositional tasks, and imposed restrictions on pitch content, intervals, and rhythms ‘as if to build up a “new music” from nothing’. Accordingly,
, which is the first fruit of his experimental project, marks a renewal of Ligeti’s musical thinking primarily on terms of the compositional technique. The present study examines the main problems of compositional technique raised in
(primarily that of chromaticism and dense polyphony) and points out significant influences shown in the work (such as those of Bartók, Stravinsky, and Romanian folklore).
- 11182 (accessed March 14, 2015).
Bîrlea , Ovidiu 1983 Folclorul românesc. Momente şi sinteze [RomanianFolklore. Issues and Synthesis]. II. Bucharest : Minerva Publishing House .
Dégh , Linda 1994 American Folklore and the Mass Media , 7
, the “meteorologist saint”, in Romanianfolklore. In doing so, the author attempts to uncover the hidden and obvious (via common textual motifs) connections of charms to other narrative genres. She is right to conclude that charms and other religious