FROM THE METAPHOR OF WATER TO CORRESPONDENCES BETWEEN ENESCU, EMINESCU … Cosma, Viorel (Ed.), George Enescu în memoria timpului (George Enescu in the Memory of Time, texts by different authors, 1930-2000), Editura Casa Radio, Bucureşti, 2003. Culianu, Ioan Petru, Out of this World. Otherworldly Journeys from Gilgamesh to Albert Einstein (1991), Transl. by G. & A. Oişteanu as: Călătorii în lumea de dincolo. Polirom, Iaşi, 2003. Durand, Gilbert, Les structures anthropologiques de l’imaginaire (1960), Transl. by M. Aderca as Structurile antropologice ale imaginarului, Editura Univers, Bucureşti, 1977. Eliade, Mircea, 50 de conferinţe radiofonice (1932-1938) (50 Radio Conferences; (1932- 1938)), Editura Humanitas, Bucureşti, 2001. Eliade, Mircea, Traité d'histoire des religions (1949), Transl. by M. Noica as Tratat de istorie a religiilor, Editura Humanitas, Bucureşti, 1992. Eliade, Mircea, Le Sacré et le Profane (1956), Transl. by R. Chira as Sacrul şi profanul. Editura Humanitas, Bucureşti, 1992. Firca, Clemansa, Catalogul tematic al creaţiei lui George Enescu (The Thematic Catalogue of George Enescu Creation), vol. I. Editura Muzicală, Bucureşti, 1985. Gardner, Howard, Five minds for the future (2006), Transl. by R. Ciocănelea as Mintea umană – cinci ipostaze pentru viitor, Editura Sigma, Bucureşti, 2007. Gavoty, Bernard, Les souvenirs de Georges Enesco (1954), Transl. by R. Drăghici & N. Bilciurescu as Amintirile lui George Enescu. Editura Muzicală, Bucureşti, 1982. Kernbach, Victor, Miturile esenţiale (Essential Myths), Editura ştiinţifică şi enciclopedică, Bucureşti, 1978. Kernbach, Victor, Dicţionar de mitologie generală (Dictionary of General Mythology), Editura ştiinţifică şi enciclopedică, Bucureşti, 1989. Lovinescu, Victor, Interpretarea ezoterică a unor basme şi balade populare româneşti (The Esoteric Interpretation of Some Romanian Folk Tales and Ballads), Editura Cartea românească, Bucureşti, 1993. Lupu, Olguţa, Ipostaze ritmico-temporale în muzica primei părţi a secolului XX. (Music in the First Part of the 20th Century - Rhythmic-temporal Hypostases), Editura Universităţii Naţionale de Muzică, Bucureşti, 2005. Lupu, Olguţa (Ed.), Tiberiu Olah – Restituiri (Tiberiu Olah – Restitutions), Editura Muzicală, Bucureşti, 2008. Manolache, Laura (Ed.), George Enescu – Interviuri din presa românească – I (George Enescu – Interviews in the Romanian Media – I), Editura Muzicală, Bucureşti, 1988. Manolache, Laura (Ed.), George Enescu – Interviuri din presa românească – II (1936- 1946) (George Enescu – Interviews in the Romanian Media – II), Editura Muzicală, Bucureşti, 1991. Niculescu, Ştefan, Reflecţii despre muzică (Reflections on Music), Editura Muzicală, Bucureşti, 1980. Noica, Constantin, Pagini despre sufletul românesc (1944) (Pages on the Romanian Soul), Editura Humanitas, Bucureşti, 1991. Noica, Constantin, Eseuri de duminică (1938-1940); (Sunday Essays), Editura Humanitas, Bucureşti, 1992. 101
OLGUŢA LUPU Noica, Constantin, Simple introduceri la bunătatea timpului nostru (1972-1987) (Simple Introductions to the Kindness of Our Time), Editura Humanitas, Bucureşti, 1992. Olah, Tiberiu, Poliheterofonia lui Enescu. O nouă metodă de organizare a materialului sonor (Enescu’s Polyheterophony. A New Method of Organizing the Sonorous Material); in: Muzica, nr. 1-2/1982, p.13-24; republished in: O. Lupu (Ed.), Tiberiu Olah – Restituiri (Tiberiu Olah – Restitutions), Editura Muzicală, Bucureşti, 2008, p. 117-139. Petraş, Irina, Teoria literaturii (The Theory of Literature), Editura didactică şi pedagogică, Bucureşti, 1996. Potopin, Ion, Thematic Interferences between Enescu and Eminescu (1978), in: Voicana, M. (Ed.), Enesciana II-III, Editura Academiei R.S.R., Bucureşti, 1981, p. 179-186. Rădulescu, Speranţa (Scient. Coord.) (1981), Centenarul George Enescu (Centenary of George Enescu), Editura Muzicală, Bucureşti, 1981. Stihi-Boos, Constantin, A Few Aspects of the Musical Transfiguration of the Literary Pretext in the Symphonic Poem „Vox maris” By George Enescu (1973). In: Voicana, M. (Ed.), Enesciana I. Editura Academiei R.S.R., Bucureşti, 1976, p. 141-150. Stihi-Boos, Constantin, Două precizări analitice privitoare la poemul orchestral românesc din prima jumătate a secolului nostru (Two Analytical Specifications Regarding the Romanian Orchestral Poem in the First Half of Our Century), in: Rădulescu, S. (Scient. Coord.), Centenarul George Enescu (Centenary of George Enescu), Editura Muzicală, Bucureşti, 1981, p. 369-396. Todoran, Eugen, Lucian Blaga – Mitul poetic (Lucian Blaga – The Poetical Myth). Editura Facla, Timişoara, 1983. Ţăranu, Cornel (1969), Enescu în conştiinţa prezentului (Enescu in the Conscience of the Present), Editura pentru literatură, Bucureşti, 1969. Ţăranu, Cornel (1973), Simfonia a V-a de Enescu (Enescu’s Fifth Symphony). Revista Muzica, no. 4/1973, pp. 20-24. Vianu, Tudor, Romantismul ca formă de spirit (1931), in: Călinescu, G. - Călinescu, M. - Marino, A. - Vianu, T., Clasicism, baroc, romantism (Classicism, Baroque, Romanticism), Editura Dacia, Cluj, 1971. Vianu, Tudor, Studii de filozofia culturii (1933-1947). (Philosophy of Culture – Studies). Ed. by G. Ionescu & G. Gana. Editura Eminescu, Bucureşti, 1982. Voicana, Mircea (Ed.), Enesciana I: la personalité artistique de Georges Enesco: travaux de la Première Session scientifique du Centre d’Etudes “Georges Enesco”, Bucarest, 19 sept. 1973, Editura Academiei R.S.R., Bucureşti, 1976. Voicana, Mircea (Ed.), Enesciana II-III, Editura Academiei R.S.R., Bucureşti, 1981. Voicana, Mircea (Ed.), Enesciana IV, Editura Muzicală, Bucureşti, 1985. Voicana, Mircea - Firca, Clemansa - Hoffman, Alfred - Zottoviceanu, Elena, in collaboration with Marbe, Miriam - Niculescu, Ştefan - Raţiu, Adrian, George Enescu (monografie), vol. I and II, Editura Academiei RSR, Bucureşti, 1971. Vulcănescu, Mircea, Dimensiunea românească a existenţei (The Romanian Dimension of the Existence), Ed. By M. Diaconu, Editura Fundaţiei Culturale Române, Bucureşti, 1991. 102
- Page 1 and 2:
MUSICA 1/2012
- Page 3 and 4:
COMPUTER MUSIC CIPRIAN-GABRIEL POP,
- Page 6 and 7:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 8 and 9:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 10 and 11:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 12 and 13:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 14 and 15:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 16 and 17:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 18 and 19:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 20 and 21:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 22:
NEW TRENDS IN MODERN MUSICOLOGY. A
- Page 25 and 26:
ISTVÁN ALMÁSI gesellschaftliche S
- Page 27 and 28:
ISTVÁN ALMÁSI Gebilde angesehen w
- Page 29 and 30:
ISTVÁN ALMÁSI Jahre. Zur Mitwirku
- Page 31 and 32:
ISTVÁN ALMÁSI Siebenbürgen an di
- Page 34 and 35:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 36 and 37:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 38 and 39:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 40 and 41:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 42 and 43:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 44 and 45:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 46 and 47:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 48 and 49:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 50 and 51:
TYPICAL WEDDING TUNES OF THE NORTHE
- Page 52 and 53: TYPICAL WEDDING TUNES OF THE NORTHE
- Page 54 and 55: STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 56 and 57: HYMNS OF REPENTANCE IN THE WORSHIP
- Page 58 and 59: HYMNS OF REPENTANCE IN THE WORSHIP
- Page 60 and 61: HYMNS OF REPENTANCE IN THE WORSHIP
- Page 62 and 63: HYMNS OF REPENTANCE IN THE WORSHIP
- Page 64 and 65: HYMNS OF REPENTANCE IN THE WORSHIP
- Page 66 and 67: STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 68 and 69: PHILOKALIA IN MUSIC iubirii” 4 ).
- Page 70: PHILOKALIA IN MUSIC 18. The sleep,
- Page 73 and 74: CIPRIAN GABRIEL POP 2. Historic Lan
- Page 75 and 76: CIPRIAN GABRIEL POP In rendering th
- Page 77 and 78: CIPRIAN GABRIEL POP Amplitude modul
- Page 79 and 80: CIPRIAN GABRIEL POP In the work Kla
- Page 81 and 82: OLGUŢA LUPU eternity and ephemeral
- Page 83 and 84: OLGUŢA LUPU But its heyday, a time
- Page 85 and 86: OLGUŢA LUPU - the poem Vox maris 1
- Page 87 and 88: OLGUŢA LUPU suggest the finest nua
- Page 89 and 90: OLGUŢA LUPU Mircea Eliade’s obse
- Page 91 and 92: OLGUŢA LUPU plants and minerals ar
- Page 93 and 94: OLGUŢA LUPU The Metaphor of Water
- Page 95 and 96: OLGUŢA LUPU remains “sheltered i
- Page 97 and 98: OLGUŢA LUPU Enescu, a joyous meeti
- Page 99 and 100: OLGUŢA LUPU uselessness, this sacr
- Page 101: OLGUŢA LUPU Using the metaphor of
- Page 105 and 106: OANA ANDREICA from Bach to Berg. Di
- Page 107 and 108: OANA ANDREICA phenomenon: the quota
- Page 109 and 110: OANA ANDREICA and the Shostakovich
- Page 111 and 112: OANA ANDREICA Ex. 4 Quotation of La
- Page 113 and 114: OANA ANDREICA In ms. 15-16, with em
- Page 115 and 116: OANA ANDREICA A variation of Lasso
- Page 118 and 119: STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 120 and 121: NICOLAS ASTRINIDIS (1921-2010): COM
- Page 122: NICOLAS ASTRINIDIS (1921-2010): COM
- Page 125 and 126: MARTA CÎRLEJAN began along with ba
- Page 127 and 128: MARTA CÎRLEJAN ensemble, to streng
- Page 129 and 130: MARTA CÎRLEJAN Pleyel. Their works
- Page 131 and 132: MARTA CÎRLEJAN In this direction,
- Page 133 and 134: KATA ASZTALOS years. Scientific jou
- Page 135 and 136: KATA ASZTALOS Events of 1775 On 13
- Page 137 and 138: KATA ASZTALOS abbandonata 15 was pe
- Page 139 and 140: KATA ASZTALOS Events of 1779 Prince
- Page 141 and 142: KATA ASZTALOS Events of 1783 It is
- Page 143 and 144: KATA ASZTALOS service of Haydn. 31
- Page 145 and 146: KATA ASZTALOS Philemon und Baucis (
- Page 147 and 148: KATA ASZTALOS Der Hexenschabbas (17
- Page 149 and 150: KATA ASZTALOS The role of kettledru
- Page 151 and 152: KATA ASZTALOS Other Authors’ Mari
- Page 153 and 154:
KATA ASZTALOS a huge amount of gunp
- Page 156 and 157:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 158 and 159:
THE ORGANS OF THE REFORMED DIOCESE
- Page 160 and 161:
THE ORGANS OF THE REFORMED DIOCESE
- Page 162 and 163:
THE ORGANS OF THE REFORMED DIOCESE
- Page 164 and 165:
THE ORGANS OF THE REFORMED DIOCESE
- Page 166 and 167:
THE ORGANS OF THE REFORMED DIOCESE
- Page 168 and 169:
THE ORGANS OF THE REFORMED DIOCESE
- Page 170 and 171:
THE ORGANS OF THE REFORMED DIOCESE
- Page 172 and 173:
THE ORGANS OF THE REFORMED DIOCESE
- Page 174 and 175:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 176 and 177:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 178 and 179:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 180 and 181:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 182 and 183:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 184 and 185:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 186:
THE HEALING POWER OF MUSIC. MUSIC I
- Page 189 and 190:
MIKLÓS FEKETE […] Nach der letzt
- Page 191 and 192:
MIKLÓS FEKETE ‐ der Gebrauch bes
- Page 193 and 194:
MIKLÓS FEKETE Beispiel Nr. 2 Apré
- Page 195 and 196:
MIKLÓS FEKETE Beispiel Nr. 6 Teil
- Page 197 and 198:
MIKLÓS FEKETE Die unterschiedliche
- Page 199 and 200:
MIKLÓS FEKETE arpeggiert die versc
- Page 201 and 202:
MIKLÓS FEKETE In der Ausführungsr
- Page 203 and 204:
MIKLÓS FEKETE Der in diesem destab
- Page 205 and 206:
MIKLÓS FEKETE Beispiel Nr. 18 204
- Page 207 and 208:
MIKLÓS FEKETE wo die Tendenz zur
- Page 209 and 210:
MIKLÓS FEKETE 208 BIBLIOGRAPHIE An
- Page 211 and 212:
LUANA STAN Dans le contexte du XX e
- Page 213 and 214:
LUANA STAN (chants traditionnels ou
- Page 215 and 216:
LUANA STAN Avant de passer aux brui
- Page 217 and 218:
LUANA STAN L’auteur, s’inspiran
- Page 219 and 220:
LUANA STAN dans un cadre où elle e
- Page 221 and 222:
LUANA STAN que « À 60 ans, les Af
- Page 223 and 224:
LUANA STAN Schafer suggère qu’il
- Page 225 and 226:
LUANA STAN Quelques perspectives Il
- Page 227 and 228:
LUANA STAN Marconi, Luca, « Muzak,
- Page 229 and 230:
ŞERBAN MARCU Romanian creation is
- Page 231 and 232:
ŞERBAN MARCU The general expressio
- Page 233 and 234:
ŞERBAN MARCU notes), the smooth me
- Page 236 and 237:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 238 and 239:
SONATA FOR CLARINET SOLO BY TIBERIU
- Page 240 and 241:
SONATA FOR CLARINET SOLO BY TIBERIU
- Page 242 and 243:
SONATA FOR CLARINET SOLO BY TIBERIU
- Page 244:
SONATA FOR CLARINET SOLO BY TIBERIU
- Page 247 and 248:
CRISTIAN BENCE-MUK centuries compos
- Page 249 and 250:
CRISTIAN BENCE-MUK 1994/95; Variaţ
- Page 251 and 252:
CRISTIAN BENCE-MUK the Atrium of th
- Page 253 and 254:
CRISTIAN BENCE-MUK However, it is b
- Page 255 and 256:
CRISTIAN BENCE-MUK Thus, the piece
- Page 257 and 258:
CRISTIAN BENCE-MUK by the addition
- Page 260 and 261:
STUDIA UBB MUSICA, LVII, 1, 2012 (p
- Page 262 and 263:
HA FOLYÓVĺZ VOLNÉK ... (HAD I BE
- Page 264 and 265:
HA FOLYÓVĺZ VOLNÉK ... (HAD I BE
- Page 266:
HA FOLYÓVĺZ VOLNÉK ... (HAD I BE
- Page 269 and 270:
GABRIELA COCA The first chapter con
- Page 271 and 272:
CONTRIBUTORS Marta CÎRLEJAN, Piani
- Page 273 and 274:
CONTRIBUTORS “Chamber Music” an
- Page 275 and 276:
CONTRIBUTORS Szilvia TÖRÖK, born
- Page 278:
AGREEMENT OF CHANGE BETWEEN THE INS
- Page 281 and 282:
INVITATION FOR PUBLISHING The subsc