Pita- temà matematinës dedukcijos metodais. Nors Renesanso epochoje teorinis konsonansø rin- Konsonanso lot. Artimø ma ávairiø nuomoniø apie galimø intervalø skaièiø nuo 15 iki daþniø garsai aktyvuoja artimas nerviniø struktûrø làsteles au- 24 ðioje sistemoje ir tam tikros polemikos: ar susiduriama su sies sraigës – Corti organe ir yra saugomi artimose làstelëse sme- tikraisiais ketvirtatoniais, ar tik su intervalø mikrotoninëmis va- genø þievëje.

Rytis Ambrazevièius. Consonance and Dissonance in Psychology of Music. Zweiter Teil: Kompositionspraxis.

Kalba ir vertimas

Mozart’s Music in the Intersection of the “Network of Texts”. Music in the Kaunas Jewish Ghetto. Italian Singers in Vilnius in the 19th Century.

Structural Peculiarities of svorio netekimas pradedantiesiems antsvorio Lithuanian Krakowiak.

1. Vasaros olimpinės žaidynės vyko Pekine, Kinijos Liaudies Respublikoje, nuo m.
2. Lietuvos Muzikologija VII | PDF
3. Projektą vykdo Vilniaus universiteto Filologijos fakulteto Vertimo studijų katedra.
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5. Словно по сигналу, поданному инстинктом выживания, все мышцы его тела моментально напряглись.
6. Geriausias papildas greitai numesti riebalus

Articulative Principles of notes inegales and Their Application to Birbynë. Book reviews. Savàjà tyrinëjimø salà suneðë visuomet aktuali opera. Pirmà kartà ðio þurnalo puslapiuose supaþindinama su Lietuvos þydø muzikine veikla ir palikimu, gvildenamos XX a.

Ankstesniame þurnalo tome supaþindinus su muzikinës retorikos figûromis, èia bandoma iððifruoti Johanno Kuhnau „Biblischen Historien“ muzikinius retorinius perskaitymus.

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Psichoakustiniu poþiûriu þvelgiama á konsonanso ir disonanso identifikacijos prielaidas, struktûriðkai tyrinëjamas lietuviðkas krakoviakas, kalbama apie lietuviø muzikos kûrybos bei recepcijos kanonus. Paþymimi keli svarbûs øjø jubiliejai. Kertiniø muzikos kategorijø apibrëþtys Ryèio Ambrazevièiaus straipsnyje „Konsonansas ir disonansas muzikos psichologijoje“ tikslinamos „ðiurkðtumo“ efektà pagrindþiant samplaikø, tonotopinëmis bei kognityvinëmis teorijomis.

Kompozicinë praktika“ dalis atskleidþia muzikinëmis priemonëmis pasakojamus biblinius siuþetus. Stebima, kaip ádiegus retorines figûras, afektus, baroko ðokius, daugybæ signifikuoja- mø kompoziciniø elementø bei operos kompozicinius modelius, skleidþiasi muzikinio diskurso naratyvumas. Biblijos referencijos XX a. Aptariamas maldos Alyvø sode siuþeto bei semantikos perkûrimas O. Narbutaitës Antrojoje simfonijoje, archetipiðkumo apraiðkø intertekstine maniera semiotizavimas W. Mozarto, F.

Schuberto, F. Chopino intonacinio þodyno pagrindu.

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Intertekstualumo bei globalizuojamo „tekstø tinklo“ santykiai 7-ajame „Lietuvos muzikologijos“ tome gvildenami dar dviejø autoriø studijose. Graþina Daunoravièienë, atsiþvelgdama á tai, kad ðie metai skirti W. Mozartui, fokusuoja W. Mozarto kompoziciniø tekstø referentiðkumo ir savireferentiðkumo ypatybes. Straipsnyje „W. Mozarto muzika „tekstø tinklo“ sankirto- se“ aptariami jo „mokymosi“ bei „mokymo“ faktai, revizuojanèiais santykiais revisionary ratios bei intertekstinëmis referencijomis rekonstruojamas kompozitoriaus tekstus integravæs XVIII–XIX a.

Panaðià problemà Richardo Wagnerio kûrybos pagrindu gvildena Gildfordo Sario universiteto University of Surrey, Guildford profesorius Stephenas Downesas straipsnyje „Prisimenant ir suplëðant Wagnerio muzikà: aliuzija ir destrukcija Poulenco, Ðostakovièiaus ir Henze’s muzikoje“.

Intertekstualios R. Wagnerio muzikos aliuzijos XX a. Lietuvos þydø muzikinës kultûros þidiniai, jos pasaulinës sklaidos magistralës, ið Lietuvos kilusiø þydø muzikø kûryba tapo Leonido Melniko studijos „Lietuvos þydø muzikinis paveldas XIX a. I pusë “ tema. Analizuojant L. Godowsky’o, J. Heifetzo, broliø Schneideriø, V. Perlemúterio sàsajas su Lietuva, aptariama tarpukario þydø muzikø veikla, liturginis muzikavi- mas, folkloro, muzikinio ugdymo aspektai, rhonda weber martin svorio metimas pagrindinës Lietuvos þydø muzikinës kultûros raidos dominantës.

Kon- kretus pastarosios fragmentas rekonstruotas Danutës Petrauskaitës straipsnyje „Muzika Kauno þydø gete“.

Holokausto fone ið istoriniø fragmentø sudëliojamas Antrojo pasaulinio karo metais veikusio Kauno Vilijampolës þydø geto muzikø veiklos vaizdas, aptariant geto simfoninio orkestro, jo repertuaro, dainø melodijø ir tekstø ypatumus, atskleidþiant svarbiausias muzikinio gyveni- mo kryptis. Operos rhonda weber martin svorio metimas skirtoje ðio þurnalo dalyje þvalgomasi po XIX a.

Karo ir vokieèiø okupacijos metø – muzikinis gyvenimas Lietuvoje tyrinëjamas Vytautës Markeliû- nienës straipsnyje „Kauno operetës trupës veikla karo metais“.

Rytis Ambrazevièius. Consonance and Dissonance in Psychology of Music. Zweiter Teil: Kompositionspraxis. Mozart’s Music in the Intersection of the “Network of Texts”. Music in the Kaunas Jewish Ghetto.

Siekdama atskleisti ðios trupës veiklos pobûdá politiniø lûþiø akivaizdoje V. Markeliûnienë analizuoja Kauno operetës kûrybinio branduolio formavimosi procesà, dainininkø debiutus, naujø spektakliø pastatymus.

Bartulio versijà – aptaria Rûta Gaidamavièiûtë straipsnyje „Vidmanto Bartulio „Pamoka“ – tarp aleatorikos ir autorinës interpretacijos“. Rûtos Goðtautienës studijos „Keletas variacijø kanono tema“: aðtuntojo deðimtmeèio lietuviø muzikos pagrindinë srovë ir jos recepcija“ centre atsidûrë lietuviðkos muzikos kûrybos ir recepcijos kanonø kilmës problematika.

Autorë parodo jø svarbà lietuviø muzikos tarptautiniam áteisinimui, gvildena kanonizuotà kompozitoriø ávaizdá transformavusius procesus – vieti- næ ir tarptautinæ jø muzikos sklaidà bei recepcijà.

Etnomuzikologinæ studijø kryptá ðiame „Lietuvos muzikologijos“ tome pristato Giedrës Saunoriûtës straipsnis „Lietuviðko krakoviako struktûrinës ypatybës“. Struktûrinës analizës metodai bei etnochoreologijos patirtis taikomi tyrinëjant jau nuo XIX a. Lietuvoje paplitusio lenkiðkos kilmës ðokio muzikinæ bei choreografinæ ávairovæ. Akustinës fonetikos matavimø pagrindu Dariaus Kliðio straipsnyje „Artikuliaciniai notes inegales principai ir jø pritaikymas birbynei“ gvildenamos aerofonø artikuliacijos ypatybës.

Kaip ir ankstesniø „Lietuvos muzikologijos“ tomø prieduose, 7-ajame tome recenzuojami naujausi lietuviø muzikologø darbai, spausdinamos Jûratës Vyliûtës, Danutës Petrauskaitës ir Jono Bruverio naujausiø lietuviðkø knygø recenzijos.

Redakcinë kolegija Lietuvos muzikologija, t. A specific area is occupied by the opera which is always in the limelight of attention. For the first time an attempt is made to introduce the readers to musical activities and heritage of Lithuanian Jews as well as address the issue of intertextuality of 20th century music.

While the previous volume of the journal has acquainted the readers with the rhetorical figures in music, the present one attempts to decipher musical rhetorical readings in Johann Kuhnau’s Biblischen Historien. The premises rhonda weber martin svorio metimas identification of consonance and dissonance are approached from a psycho- acoustic angle; Lithuanian krakowiak is submitted to structural analysis.

Several important anniversaries of are brought to attention.

In Rytis Ambrazevièius’ article “Consonance and Dissonance in the Psychology of Music” the fundamental definitions of musical categories are made more precise by basing the effect of roughness on tonotopic and cognitive theories as well as those of combinations.

Composi- tional Practice” discusses biblical subjects narrated with the help of musical devises.

The author observes the way the narrative of musical discourse is developed through the application of rhetorical figures, affects, Baroque dances, a number of signified compositional elements and operatic compositional models. Audronë Þiûraitytë’s article “Biblical References and Musical Myths in the Work of Onutë Narbutaitë” surveys biblical references in the 20th century composition.

The author discusses the way the subject and semantics of the prayer on the Garden of Olives are recomposed in Narbutaitë’s Second Symphony and the way archetypal manifestations are semioti- sized in an intertextual manner on the basis of the intonational vocabulary of W. Mozart, F. Schubert, F. Two other studies of the seventh volume of “Lithuanian Musicology” submit the relationship between intertextuality and the globalised “network of texts” to analysis.

Inspired by the Mozart Year, Graþina Daunoravièienë focuses on qualities of referencing and self-referencing in W.

Mozart’s compositional texts. Her article “W. Mozart’s Music in the Intersection of “the Network of Texts” discusses the rhonda weber martin svorio metimas of Mozart’s “learning” and “teaching”. On the basis of revisionary ratios and intertextual references an attempt is made to reconstruct the compositional network of the 18th–20th centuries which has integrated Mozart’s texts.

A similar problem, on the basis of Richard Wagner’s works, is addressed by Prof. Intertextual allusions to Wagner’s music in the 20th century are treated as ambiguously signified authoritative symbolic figures functioning as a “cultural trope”. The sources of Rhonda weber martin svorio metimas Jewish musical culture and the highways of its global dissemination, the creative activities of Lithua- nia-born Jews are investigated in Leonidas Melnikas’ study “Lithuanian Jewish Musical Heritage End of the 19th–First Half of the 20th century “.

By analysing the ties of L. Godowski, J. Heifetz, the brothers Schneider, V. Perlemúter with Lithuania, the activities of Jewish Lithuanian musicians in the interwar period are touched upon; another focus is on liturgical music making, aspects of folklore and musical education; in addition, the principal factors of the development of Lithuanian Jewish musical culture are fda nuostoliai dėl svorio. The article by Danutë Petrauskaitë “Music in the Kaunas Jewish Ghetto” attempts to reconstruct a concrete fragment of the past.

Against the background of the Holocaust a picture of musical activities at the Kaunas Vilijampolë Jewish Ghetto during the Second World War is assembled from historical fragments by discussing peculiarities of the Ghetto symphony orchestra, its repertoire, aspects of melodies and lyrics and by focusing on the principal directions of musical life there.

The section of the journal that concerns itself with the art of opera takes a look at the tours of the 19th century opera soloists and companies; it also addresses the issues of the development and creation of the 20th century Lithuanian opera. In her article “Italian Singers in Vilnius in the 19th Century“ Vida Bakutytë recreated a consistent panoramic view of cultural life and the tour of Italian opera singers in the 19th century Vilnius and presented a convincing proof of the efficiency of the then theatrical criticism.

The musical life in Lithuania during the war and German occupation – is analysed in Vytautë Markeliûnienë’s article “The Activities of vidutinio amžiaus vyrui reikia mesti svorį Kaunas Operetta Company prarasti riebalų sluoksnį per abs the War”.

With the aim to disclose the nature of this company’s activities when faced with political upheavals, the author investigates the process of formation of the Kaunas operetta creative nucleus, the debut of singers and the production of new shows. In her article “Lesson by Vidmantas Bartulis – Between Aleatory Technique and the Author’s Interpretation” Rûta Gaidamavièiûtë discusses a radical phenomenon lieknėjimas 1 the Lithuanian opera at the end of the 20th century – the theatrical version of Eugène Ionesco and the musical version by V.

The study by Rûta Goðtautienë “A Few Canonic Variations”: Lithuanian Musical Mainstream of the 80s and its Reception” focuses on the problematique of origin of canons in the creation and reception of Lithuanian music.

The author emphasizes their importance for the international reception of Lithuanian music and analyses the processes that transformed the canonical image of composers – i. The ethnomusicological approach is represented in this volume by Giedrë Saunoriûtë’s article “Structural Peculiarities of Lithuanian Krakowiak”.

Methods of structural analysis and ethnochoreological experience are applied to the analysis of the musical and choreograp- hic variety of this dance of Polish origin that was popular in Lithuania as early as in the 19th century. The article by Darius Kliðys “Articulation Principles of notes inegales and their Application to Birbynë” addresses the articulation peculiarities of aerophones based on the measurements of acoustic phonetics.

Similarly to the previous volumes of “Lithuanian Musicology”, the appendices of the 7th volume contain reviews of the latest opuses of Lithuanian musicologists; critical surveys of the newest Lithuanian books are presented by Jûratë Vyliûtë, Danutë Petrauskaitë, and Jonas Bruveris. The Board of Editors 5 Lietuvos muzikologija, t. Aptariama konsonanso ir disonanso sàvokø problema, nagrinëjamos psichofizinës samplaikø ir tonotopinës koncepcijos konsonanso ir disonanso, sàskambio ðiurkðtumo bei kritinës juostos sàryðis pagal H.

Leveltà, R. Plompà ir kt. Terhardto virtualiojo aukðèio, N. Cazdeno lûkesèio konsonanso ir disonanso, J. Wrighto ir A. Bregmano srautø koherencijos ir kt.