xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM II

More documents

Recommendations

Info

144 Manuel De Phallia's Composing Style and His Importance in Spanish Musical Culture Summary Ketevan Razmadze Spanish composer school made an important contribution to European music. At the boundaries of XIX-XX centuries, in the epoch of modernist changes, Spanish musical culture was able to revive its past glory, as the result of influence of different genres especially “French Impressionism”. An inspirer of this idea was a musician-theorist Philippe Pedrel, successors - his own apprentices: Isaac Albeniz and Enrique Granados and Manuel De Phallia later. With his creative work he managed to revive inviolable wealth of southern Spanish musical-instrumental folklore and preserve artistic balance and national traditions. The interest towards creative work of Manuel De Phallia is caused by his very interesting pattern of folklore, his vocal-instrumental work for part and piano “7 Spanish Songs”. They are not generally Spanish but exactly Andalusian, Mersian and Asterial. His national and genre peculiarities are emphasized as well. Such kind of attitude towards folk music and possible connection between Spanish-Caucasian music prompted me to discuss and analyze this composition in details in the future. At first I am presenting this work “Manuel De Phallia's Composing Style and his Importance in Spanish Musical Culture”, which represents a general review of Manuel De Phallia’s work and his style using material available for me. It should be underlined that the literature connected with musical knowledge concerning Manuel De Phallia is very rare and such kind of material is not available in Georgian at all. In transitional period of XX-XXI centuries, at the background of numerous novelties and modern genres I think that it is still urgent to take care of Georgian aspiration, traditions and national folklore. That is why I have considered the above mentioned work interesting for the readers.
sergei raxmaninovis romansebi nino CaiZe naSromis mizania sergei raxmaninovis romansebis ganxilva XIX saukunis bolo da XX saukunis dasawyisis kulturul-sazogadoebrivi azrovnebis ganviTarebis WrilSi. s. raxmaninovis vokaluri Semoqmedeba musikalur xelovnebaSi erT-erT unikalur nimuSs warmoadgens. igi miekuTvneba ara marto rusul, aramed msoflio musikaluri xelovnebis monapovars. s. raxmaninovis romansebSi aisaxeba misi Tanamedroveobis gamoZaxili da Tavad kompozitoris SemoqmedebiTi poziciebi. rusuli klasikuri musika msoflio musikaluri kulturis udidesi monapovaria. romansi — musikisa da teqstis Serwymaa. mas axasiaTebs formis lakonuroba, ubraloeba da aRsaqmelad advilad misawvdomia, rogorc SemsruleblisaTvis, aseve msmenelisaTvis. rusuli romansi ar Semoifargleba lirikuli subieqturobiT, masSi gamoZaxils hpovebs Tanamedroveobis mniSvnelovani movlenebi. romansis, rogorc damoukidebeli Janris istoria iwyeba XV<strong>II</strong>I saukunis bolo aTwleulSi. Tavisi ganviTarebis gzaze romansi mWidrod iyo dakavSirebuli rusul klasikur operasTan. romansis warmoSobis istoria ar SeiZleba dava- SoroT rusuli poeziis istorias, swored Tematika da siuJeti ganapirobebs musikaluri stilis Taviseburebebs. XIX saukunis 90-ian wlebSi ruseTSi Tavs iCens axali mimdinareoba ,,modernizmi” da male is umniSvnelovanes adgils ikavebs rus SemsrulebelTa repertuarSi. mkvidrdeba axali mimdinareobebi, rogorc musikaSi, aseve poeziaSi da mxatvrobaSi. musikaluri modernizmis liderebi kurss iRebdnen simbolistTa Semoqmedebaze. modernizmis erT-erT mimdevrad SeiZleba CaiTvalos stravinski da ramdenime meorexarisxovani kompozitori. am mimdinareobis gavlenis qveS moeqca raxmaninovic, romelmac dawera romansTa cikli Txz. 38 simbolistTa teqstze. A 145
Page 1 and 2:
saqarTvelos ganaTlebisa da mecniere
Page 3 and 4:
xelovnebaTmcodneoba maia WiWileiSvi
Page 5 and 6:
warwera gvamcnobs, rom eklesia ioan
Page 7 and 8:
yobda am patara regionis ayvavebas
Page 9 and 10:
darbazuli eklesia rCeba. Tumca, epo
Page 11 and 12:
la abuserisZeni aq axali qvis sayda
Page 13 and 14:
A amgvarad, naSromSi ganxiluli saek
Page 15 and 16:
ilustraciebi xinowminda. interieri
Page 17 and 18:
sofio sanikiZe zogierTi fsiqologiur
Page 19 and 20:
Semdegi fsiqologiuri faqtori, romel
Page 21 and 22:
ebulad mocemuli sagani, adamians ad
Page 23 and 24:
eklamis pirveladi aRqmisaTvis dizai
Page 25 and 26:
tipis abrebs Soris ovaluri konstruq
Page 27 and 28:
kinomcodneoba roland boraSvili vsev
Page 29 and 30:
swored pudovkinma, erT-erTma pirvel
Page 31 and 32:
swored lui deliukis, SemdgomSi ki v
Page 33 and 34:
lelur montaJs, erTdroulobis montaJs
Page 35 and 36:
sofio TavaZe qarTuli kinos ZiriTadi
Page 37 and 38:
nebis es dargi mZime ideologiuri ze
Page 39 and 40:
ginaluri gadawyvetis niSnebs. `qarT
Page 41 and 42:
saSualebaTa mravalferovneba, droisa
Page 43 and 44:
sofio TavaZe gamosaxulebisa da xmov
Page 45 and 46:
axalgazrda wyvilic moeqceva garemom
Page 47 and 48:
ed ase gadaviRe `pastorali~ da bolo
Page 49 and 50:
manuCar loria, Tengiz vadaWkoria an
Page 51 and 52:
pirobiTad SevqmeniT saqaRalde D:\-d
Page 53 and 54:
xma ganTavsdeba audiobilikze. swore
Page 55 and 56:
iseve, rogorc yvela danarCens da ma
Page 57 and 58:
kulturis istoria irma bagrationi ko
Page 59 and 60:
inarCunebs Tavis yvela gamovlenaSi
Page 61 and 62:
Irma Bagrationi Konstantine Kapanel
Page 63 and 64:
licistur da mxatvrul SemoqmedebaSi.
Page 65 and 66:
ena eris kulturis saxea. enaSi Cans
Page 67 and 68:
TviTSegneba da saqarTvelos samefos
Page 69 and 70:
erovnuli xasiaTis aseTi Tvisebebis
Page 71 and 72:
musikismcodneoba qeTevan gogolaZe,
Page 73 and 74:
om musika adamians gvris garkveul s
Page 75 and 76:
Tes” partituraSi, sxvadasxva sakr
Page 77 and 78:
gamoyenebuli literatura: 1. gogolaZ
Page 79 and 80:
la musikaluri xelovnebis am dargis
Page 81 and 82:
Cndeba saqarTveloSi instrumentuli m
Page 83 and 84:
dividualobaTa mravalferovneba da ga
Page 85 and 86:
gamoyenebuli literatura: 1. gogua d
Page 87 and 88:
am cvlilebebis fonze musikalur-Teor
Page 89 and 90:
aRiarebs. mis msjelobaSi musikis Se
Page 91 and 92:
Si) da sxva alterirebuli subdominan
Page 93 and 94: xaTuna managaZe biZina kvernaZis op
Page 95 and 96: ,,iyo mervesa welsas” libreto iak
Page 97 and 98: nilia mxolod sami sceniT. ukanaskne
Page 99 and 100: debis siWarbisa da musikis garegnul
Page 101 and 102: Si, amaRlebuli sawyisis da misi rea
Page 103 and 104: artioni — h 1 (I oqtavis ,,si”
Page 105 and 106: amave saukunis dasawyisSi operebis
Page 107 and 108: sapirispirod amisa,^Tu momRerali aR
Page 109 and 110: sis gazrdiT). igi iqceva Cveulebriv
Page 111 and 112: gamoyenebuli literatura: 1. aTanelo
Page 113 and 114: nagani smeniT, intonireben mas Sina
Page 115 and 116: maradiuli netareba. me davinaxe mos
Page 117 and 118: ovnebas SeuZlia daamyaros namdvili
Page 119 and 120: fleitis SesaZleblobebidan gamomdina
Page 121 and 122: Khatuna Ninidze Problems of Interpr
Page 123 and 124: kompozitors saxelmwifo premia mieni
Page 125 and 126: cirdeba da amave dros, romansis for
Page 127 and 128: uli f7, romelic wydeba c-Tvis VII7-
Page 129 and 130: niul nawarmoebTa ricxvs, xolo zomeb
Page 131 and 132: ilia tradiciulad D-dur tonalobaSi d
Page 133 and 134: NNatalia Oragvelidze Aleksi Machava
Page 135 and 136: Semoqmedebis daxasiaTeba ~es iyo fa
Page 137 and 138: is istoriaSi; saukeTeso nawils ki m
Page 139 and 140: 1900 wlidan iwyeba kompozitoris dai
Page 141 and 142: ganapiroba kompozitoris gatacebam Z
Page 143: da bolos, imisTvis, raTa manuel de
Page 147 and 148: feroSi SevyavarT. Sesavlidan ibadeb
Page 149 and 150: sebSi ar SeiZleba raxmaninovi ar wa
Page 151 and 152: olo ori seria romansebisa Txz. 34.
Page 153 and 154: Tamaz ceriaSvili momRerlis mosamzad
Page 155 and 156: taklze Tavs mobilizeba gaukeTa, igr
Page 157 and 158: la xmovnis erT simaRleze, msgavsi S
Page 159 and 160: gavlenas axdens bgeris sisufTaveze,
Page 161 and 162: ar aris gamoricxuli, rom igive, gan
Page 163 and 164: saopero momRerlis xma (Tavisi siZli
Page 165 and 166: artistizmis da srulyofilebis gareSe
Page 167 and 168: Preparing Stages for Singers Summar
Page 169 and 170: damkvidebul naturalur wyobaSi kvint
Page 171 and 172: stilisturi Secdomebisagan, gaafarTo
Page 173 and 174: axis Semoqmedebis yvelaze cnobili d
Page 175 and 176: da bolosdabolos, romeli insturmenti
Page 177 and 178: zilbermanis muSaobas, romelic cdilo
Page 179 and 180: irina xerJi etiudis Janris saSemsru
Page 181 and 182: XIX-XX saukunis gamoCenili virtuozi
Page 183 and 184: etiudi Txz. 25 #8 Des dur - orive x
Page 185 and 186: #9 — `mogoneba” A Dur - buzoni
Page 187 and 188: aseTi etiudi aqvs talbergs — H du
Page 189 and 190: saxelovnebo ganaTleba vladimer bibi
Page 191 and 192: maT SeumCnevlad ekisrebaT rTuli mov
Page 193 and 194: unda viswavloT ara marto yuradRebis
Page 195 and 196:
3. vaTveliereb kedels, vimaxsovreb
Page 197 and 198:
19. a) viZaxebT erT erT students, v
Page 199 and 200:
yrobT, dainteresdebiT obieqtiT, Tqv
Page 201 and 202:
18. vWimavT sxeulis qveda nawils we
Page 203 and 204:
anze, an romelime saganze da ar gqo
Page 205 and 206:
ac ukavSirdeba galaktions, Semdeg g
Page 207 and 208:
unda CavutaroT maT varjiSebi kunTeb
Page 209 and 210:
kidebulebebi gaixado Tavis damokide
Page 211 and 212:
mdgomareobaa, romlis dros Semsruleb
Page 213 and 214:
a) saxelmZRvanelos (gwyindeba, ar g
Page 215 and 216:
5. amoviRoT binZuri Cvari vedrodan
Page 217 and 218:
meqanikuri moZraobaa. Tu vambob vis
Page 219 and 220:
ganisazRvreba unariT surdes is rac
Page 221 and 222:
SevajamoT Sedegebi: amrigad, scenur
Page 223 and 224:
) gavivarjiSo, g) veZeb, d) yuradRe
Page 225 and 226:
SeuZlebelia, winaaRmdeg SemTxvevaSi
Page 227 and 228:
unda Sevides urTierTobis procesSi.
Page 229 and 230:
knelma unda miiRos. xSirad signals
Page 231 and 232:
9. ori amxanagi (gogonebi an biWebi
Page 233 and 234:
sceniuri cxovrebis mcire monakveTia
Page 235 and 236:
niur saxeze muSaobas. unda gavixsen
Page 237 and 238:
sarCevi/Contents xelovnebaTmcodneob
Page 239 and 240:
Khatuna Managadaze — ,,There Was
show all

xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM II

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?