Relevant bibliographies by topics / Symphonic poem

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Symphonic poem'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Symphonic poem"

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Jordanoska, Trena. "Blagoja Ivanovski's symphonic 'Reflections': 100th anniversary of the composer's birth (1921-1994)." Artefact 7, no. 1 (2021): 15–32. http://dx.doi.org/10.5937/artefact2101015j.

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The first works for symphony orchestra by Macedonian composers were written in the post-war period, from 1945 to 1957. During this period Macedonian composers introduced Western-European music models in Macedonian music culture. Several composers, among them Blagoja Ivanovski (1921-1994), are considered the pioneers of symphonism in contemporary Macedonian music. Among Ivanovski's contributions was the first symphonic poem Razmisluvanje (Reflection) written in 1954. This work will determine the creative manner in the works for symphony orchestra that follow: Symphony no. 1 Lesta (1957), Historical Poem (1958), Frescoes (1961), Tsar Samoil's Tragedy (Three symphonic poems) (1970), Vardar (1979) and Nerezi (1984). The paper presents the analysis of the form (symmetric structure), the orchestration (a tre) and the program (contents related to the national history and culture) of the symphonic poem Razmisluvanje. The paper is also concerned with the influence of Macedonian folk and traditional music in Ivanovski's compositions.
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Kerimova, Rovshana. "Soltan Hajibeyov’s “Caravan” Symphonic Poem." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 116–29. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233343.

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The article considers some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Sultan Hajibeyov, studied the style of the work, the principles of symphonic development, methods used in orchestration. In the symphonic poem “Caravan”, a connection with national origins is clearly manifested. The improvisational principle inherent in mugham, the organic combination of melodic developmental techniques with symphonic development, the use of variable and variational development, as well as the creative use of national frets – all this arises from national music. The article deals with some features of the symphonic poem “Caravan” by the outstanding Azerbaijani composer Soltan Hajibeyov as a program work, examines the style of the work, the principles of symphonic development, and the methods used in orchestration. The purpose of the research is to study a number of features of the composer’s individual creative style in S. Hajibeyov’s symphonic poem “Caravan”. The disclosure of programming in the work, the consistent provision of epic drama in the genre of a single-part symphonic sketch, the disclosure of the connection of this feature with the mugham genre are the main points of the research. The research is based on the disclosure of the Eastern nature image through its manifestation mainly in a calm lyrical aspect and at the same time in an internal movement. The research methodology is based on a comprehensive generalization of the research of Azerbaijani and Russian musicologists in the genre of symphonic sketch based on musical-analytical, theoretical and historical analysis. Scientific novelty of the research. For the first time in the framework of Azerbaijani music science, the figurative content and orchestral features of S. Hajibeyov’s symphonic poem “Caravan” were considered from the perspective of oriental art. At the same time, based on the analysis, certain comparisons were made with the symphonic poem “In the Steppes of Central Asia” by the Russian composer A. Borodin, and the “Caravan” composition was studied in details. Conclusions. The symphonic poem genre is important in Azerbaijani music, and many interesting examples have been created in this area. The emergence and development of the symphonic poem genre in Azerbaijani music was associated with the emergence of interest and need for samples of a single genre. Thus, in Azerbaijani music, the symphonic poem genre prevails among one-act works, and this genre originated even earlier than the genre of the national symphony. Even though the symphonic poem genre in Azerbaijani music continues the traditions of the Russian School of composition, it is based on national musical intonations. Thus, the rhythmic structure of works, artistic content, and textured form is determined by national characteristics. From this point of view, S. Hajibeyov’s “Caravan” symphonic poem is the most striking example of this genre in Azerbaijani music. At the same time, the unique orchestration, texture, and use of sound timbres of instruments opened a new page in the field of National Symphony music. In particular, the use of intonations of mugham, the Azerbaijani oral traditional musical genre, brought originality to this work.
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Топилин, Д. И. "“The Poem of Ecstasy” by Alexander Scriabin: The Concept of a Symphony-Poem." OPERA MUSICOLOGICA 15 / 4, no. 2023. 15/4 (November 23, 2023): 42–61. http://dx.doi.org/10.26156/om.2023.15.4.003.

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В настоящей статье исследовательское внимание сфокусировано на одном из самых популярных симфонических произведений русской музыкальной культуры начала XX в. — «Поэме экстаза» А. Н. Скрябина. Автор статьи прослеживает эволюцию симфонического мышления Скрябина, подчеркивая концепционное своеобразие «Поэмы экстаза» как индивидуально решенной симфонии-поэмы. «Поэма экстаза» предстает не «отколовшейся» от классического четырехчастного сонатно-симфонического цикла первой частью, согласно традиционной трактовке, а «сплавленным» симфоническом полотном, содержащим элементы всех частей классической симфонии. В результате детального анализа произведения формулируются определенные эстетические уточнения, приближающие к раскрытию специфики мировоззрения и особенностей музыкального мышления Скрябина. Эмоциональные состояния в «Поэме экстаза» выходят далеко за рамки обобщенных настроений сонатных allegri, симфонических финалов, медленных частей, различных типов скерцо в западноевропейской и русской музыке второй половины XIX — начала XX в. In this article research attention is focused on one of the most popular symphonic works of Russian musical culture of the beginning of the 20th century — the “Poem of Ecstasy” by Alexander Scriabin. The author of the article once again traces evolution of Scriabin’s symphonic thinking, emphasizing conceptual originality of the “Poem of Ecstasy” as an authentic symphony-poem. The “Poem of Ecstasy” appears not as the first part “split off ” from the classical four-movement sonata-symphony cycle, according to a traditional interpretation, but as a “fused” symphonic canvas containing elements of all parts of the classical symphony. The detailed analysis of the form of the work gives rise to many aesthetic explanations that bring us closer to disclosure of the specifics of the worldview and features of Scriabin᾽s musical thinking. The emotional feelings in the “Poem of Ecstasy” go far beyond the generalized moods of sonata allegro, symphonic finales, slow movements, various types of scherzos in Western European and Russian music of the second half of the 19th — early 20th centuries.
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Banks, Paul. "Mahler's 'Totenfeier': A Symphonic Poem?" Musical Times 129, no. 1750 (December 1988): 662. http://dx.doi.org/10.2307/966659.

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Larkin, Deirdre. "The symphonic poem and tone poem in South Africa." Ars Nova 26, no. 1 (January 1994): 5–42. http://dx.doi.org/10.1080/03796489408566516.

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Cormac, Joanne. "Revising Hamlet: the Symphonic Poem in the Theatre." Studia Musicologica 54, no. 1 (March 1, 2013): 35–48. http://dx.doi.org/10.1556/smus.54.2013.1.4.

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Hamlet, the last of Liszt’s Weimar symphonic poems, stands out from the others in the sheer detail of its references to the text of Shakespeare’s play. This paper considers how Liszt revised the symphonic poems in order to tighten the relationship between music and drama against the context of his encounter with a renowned and innovative Shakespearian actor, Bogumil Dawison. It demonstrates that the revisions made to Hamlet concerned incorporating extra ’scenes’ from the play using techniques associated with incidental music. Liszt also added programmatic instructions directly related to Dawison’s portrayal. All of this allows us to reconsider the position of Hamlet within the symphonic poems, as a forerunner to the highly programmatic Two Episodes from Lenau’s Faust and the melodramas that Liszt would compose immediately afterwards.
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Abdokov, Yuri B. "A Lurking Terrain by Margarita Kuss: Orchestral Style and Timbral Poetics." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 62–78. http://dx.doi.org/10.35852/2588-0144-2023-3-62-78.

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The stylistic features of orchestral writing by Margarita Ivanovna Kuss (1921–2009) are examined in this article for the first time in Russian art studies. Her music was performed by the best Russian ensembles and conductors. M. Kuss was a musical authority for the leading musicians of the Soviet Union. For many years her house was a centre of attraction for the greatest modern Russian composers (D. Shostakovich, N. Peyko, B. Tchaikovsky, R. Bunin, M. Weinberg, G. Sviridov, G. Ustvolskaya). M. Kuss opinions and appraisals were valuable not only for the young composers, but also for world-known masters A Poem based on Russian Folk Songs (1961), A Lyrical Poem (1988), Three Poems: A Distant Spring, An Evening Song, An Evening in Light (1994) — these are the parts of a meta-cycle. And the last part of it is a symphonic poem A Lurking Terrain (1999–2000), first performed at the Large Hall of Moscow Conservatory on December 21st, 2002. The Tchaikovsky Large Symphony Orchestra was conducted by Vladimir Fedoseev. The composer's style in this score is embodied in a most impressive form. The research methods used in this article, along with the analysis of the composer's and conductor's phenomenology, could be used in further studies of the large symphonic legacy of M. Kuss. It is important both in the research context, and in the musician's practice.
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Cormac, Joanne. "From Tragedy to Melodrama: Rethinking Liszt's Hamlet." Nineteenth-Century Music Review 10, no. 1 (June 2013): 29–55. http://dx.doi.org/10.1017/s1479409813000037.

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Liszt composed the symphonic poem Hamlet towards the end of his tenure as Kapellmeister of the Weimar Court Theatre, a time when he regularly conducted operas, concerts, incidental music and variety performances. It was also a time when he frequently came into contact with artists, writers, musicians and actors. One actor in particular left a memorable impression: Bogumil Dawison. Dawison's style was unusual at the time; his performances were noted for their aggression, expressiveness and energy, and many praised the flexibility of his voice and face. Dawison aimed for a realistic approach in response to Goethe's Classicism, but the result was closer to the melodramatic style that was gaining in popularity at the time. His portrayal of Hamlet was particularly innovative, and it captured Liszt's imagination shortly before he composed the symphonic poem inspired by Shakespeare's tragedy.The relationship between the world of the theatre (particularly spoken theatre) and the symphonic poems has never before been explored in Liszt scholarship, yet, as this article reveals, spoken theatre had a significant influence on Hamlet. Indeed, this article will draw new stylistic and conceptual parallels between this symphonic poem and both melodrama as a genre and its related ‘melodramatic’ style of acting. The article argues that Dawison's influence can be traced in Liszt's approach to this work and that a ‘melodramatic reading’ can enable us to interpret some of its more puzzling aspects.
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Serov, Iurii Eduardovich. "The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 13–21. http://dx.doi.org/10.7256/2453-613x.2021.3.35674.

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The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.   
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Boenke, Patrick. "Collapse and dismantlement: On form and dramaturgy in Liszt’S late symphonic poem From the Cradle to the Grave." Studia Musicologica 54, no. 4 (December 1, 2013): 431–42. http://dx.doi.org/10.1556/smus.54.2013.4.8.

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The symphonic poem From the Cradle to the Grave deserves a special status among Liszt’s symphonic works because he wrote it after a long break as part of his series of symphonic poems from his Weimar period. The composition was inspired by a drawing by the Hungarian painter Mihály Zichy. Many aspects of Liszt’s musical response to this drawing contrast with his older symphonic works. Liszt chooses a simple three-part structure, in which each movement is dedicated to one of the stages of life. The final movement functions as a thematic recapitulation and synthesis, which, however, is no longer staged as an emphatic breakthrough, as in earlier works, but rather as a process of dismantlement preceded by a dramatic collapse at the end of the second movement. The demonstrative break with the concept of a final apotheosis relates back not only to the source of inspiration for the work, but also to a transformation in the composer’s aesthetic viewpoint.
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Dissertations / Theses on the topic "Symphonic poem"

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Guarino, Thomas. "Symphonic Poem (for Orchestra)." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1429641512.

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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.

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Leung, Chi Cheung. "Symphonic Poem "New Life" for Orchestra and Yang-Chin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500859/.

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Symphonic Poem New Life is a composition in one movement for orchestra and yang-chin. The work is divided into six continuous sections. It is written in resultant form which is a cumulative process by which all major musical elements return at the end of the work. The tritone is the prominent interval used throughout the piece. Some graphic notation is also employed. The work has a performance time of approximately 13-15 minutes. The yang-chin is a Chinese string instrument similar to the Hungarian cymbalon, which is played with a pair of small beaters. These instruments have similar ranges, and either instrument can be used in this work.
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Fry, John Douglas. "Liszt's Mazeppa : the history and development of a symphonic poem." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260449491.

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Mason, David Trent. "Childe Rowland : fairy tale to tone poem : an original composition and analysis /." View online View online, 2010. http://repository.eiu.edu/theses/docs/32211131576040.pdf.

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Price, Wesley. "Under the Spreading Chestnut Tree." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17886.

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This composition is a symphonic poem for full orchestra roughly eighteen minutes in length. The work takes both its title and inspiration from George Orwell's novel 1984. Each individual section of music reflects on a specific scene from the novel, but the sections function as transient and free-flowing "scenes" rather than as distinct movements, and musical material is transferred freely between them over the course of the piece.
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Ingimundardottir, Gudrun. "Heimferðin (The Journey Home): Tone Poem for Symphony Orchestra." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196137.

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Composers of the 20th century express through intimate and personal language the conditions of the present, utilizing compositional techniques, forms, pitch and rhythmic language, and characteristics of Western composers, as well as looking towards non- Western music for the same. Each musical language, be it tonal, twelve-tone, modal, pitch-class, or derived from folk and non-Western material, is contained in a structural framework which is audibly recognizable, and controls the musical tapestry, processes, and results. Frequently composers use distinctive musical languages to portray different atmospheres, and thus allow each musical language to dominate the texture in order to create the desired contrast. But, jumping directly from one pitch language to another can create a sense of cacophony and loss of cohesion to the composition as a whole. In my composition I intend to show that by superimposing the structural parameters of one musical language onto another, it is possible to attain consistency and coherence, despite the underlying diversity. The composition is based on the story Heimferðin (The Journey Home) by Sigurður Rúnar Þrastarson (1961-1998). The composition is in five movements: I. Dawn; II. Dance and Devotion; III. Frolic; IV. Fury, V. Farwell. Each movement describes particular settings and events of the story. Internal events have been slightly reordered, but otherwise the composition follows the storyline from beginning to end. The final two minutes and twenty seconds of the composition are an original arrangement of a song, written in 1820, by the Danish composer P. C. Krossing (1793-1838).
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Jolley, Jennifer. "Le monde du silence: A Reconsideration of the Symphonic Poem for the Twenty-First Century." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104000.

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Leatherbarrow, James W. "Part I: The Last Dream of Don Quixote: A Symphonic Poem for Saxophone and Orchestra; Part II: Angels and Transformations: Symphonic Unity in Rautavaara, Symphony No. 7, Angel of Light." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1300391009.

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Hannam, William B. "Arnold Bax and the Poetry of Tintagel." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227877436.

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Thesis (Ph.D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Dec. 10, 2009). Advisor: Theodore Albrecht. Keywords: Bax, Tintagel, symphonic poem, British music. Includes bibliographical references (p. 207-213).
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Books on the topic "Symphonic poem"

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Howell, Tim. Jean Sibelius: Progressive techniques in the symphonies and tone poems. New York: Garland Pub., 1989.

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Johns, Keith T. The symphonic poems of Franz Liszt. Stuyvesant, NY: Pendragon Press, 1997.

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Johns, Keith T. The symphonic poems of Franz Liszt. Stuyvesant, N.Y: Pendragon Press, 1996.

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Werbeck, Walter. Die Tondichtungen von Richard Strauss. Tutzing: H. Schneider, 1996.

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La Faust symphonie de Franz Liszt: Histoire d'un chef d'oeuvre négligé : historique glose, analyse, discographie comparée. Paris: Combre, 2005.

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Wilde, Denis Gerard. The development of melody in the tone poems of Richard Strauss: Motif, figure, and theme. Lewiston, N.Y: E. Mellen Press, 1990.

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Knaus, Gabriella Hanke. Aspekte der Schlussgestaltung in den sinfonischen Dichtungen und Bühnenwerken von Richard Strauss. Tutzing: H. Schneider, 1995.

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Chion, Michel. Le poème symphonique et la musique à programme. Paris: Fayard, 1993.

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Delius, Frederick. In a summer garden: Symphonic poem for orchestra. Huntsville, Tex: Recital Publications, 1998.

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Griffes, Charles Tomlinson. The pleasure-dome of Kubla Khan: Symphonic poem for grand orchestra. New York, NY: G. Schirmer, 1993.

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Book chapters on the topic "Symphonic poem"

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Reilly, Sean. "Franz Brendel’s ‘Symphonic Poem Dilemma’: Tailoring the Vocal-Instrumental Relationship to Fit the ‘New-German School’." In Word Art + Gesture Art = Tone Art, 405–22. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7_25.

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Abraham, Gerald. "The Symphonic Poem and Kindred Forms." In Romanticism (1830–1890), 489–533. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163096.003.0007.

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Abstract IT has been remarked in an earlier chapter that perhaps the most characteristic form of Romantic orchestral music was the concert overture, and at the middle of the century, as music aspired still more ardently towards the qualities of the other arts, the programmatic concert overture began to develop new characteristics and acquired a new generic title: ‘symphonic poem’. (It was first employed by Liszt, on the occasion of a performance of his Tasso Overture at the Weimar Court on 19 April 1854.) Under its cover composers felt freer to indulge in structural licences like those taken by Mendelssohn in Meeresstille und gliickliche Fahrt and Berlioz in Le Carnaval romain, and in the devices of tone symbolism and tone painting that were still regarded with suspicion, if not hostility, by many musicians at the middle of the century. It is impossible to draw a defining line between the early symphonic poems and contemporary concert overtures; the terms were for some time almost interchangeable. It is true the scores of symphonic poems were generally prefaced by literary programmes like those to Berlioz’s Symphonie fantastique and Spohr’s Die Weihe der Tone, but so too, occasionally, were the scores of overtures.
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"Essay Ten: Schubert’s Symphonic Poem." In Hearing and Knowing Music, 153–58. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400830466.153.

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"Symphonic Poem and Orchestral Fantasy:." In Beyond Fingal's Cave, 238–56. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvb6v5bc.20.

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Taylor, Benedict. "Symphonic Poetry, 1914:." In The Symphonic Poem in Britain, 1850-1950, 245–77. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvt1sjqq.15.

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Schuller, Gunther. "Strauss: Till Eulenspiegel." In The Compleat Conductor, 425–58. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195063776.003.0007.

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Abstract Strauss’s Till Eulenspiegel is unquestionably one of the composer’s most popular works, and has been so since its premiere under Franz Wtillner’s direction in 1895. Indeed, both Till and Don Juan, that wondrously exuberant, slightly earlier 1889 masterpiece, were not only outrageously popular right from the start with audiences and critics alike, but had a profound impact on the course of music in that both works, having more or less abandoned the classical sonata and variation forms, successfully explored the new freer narrative form of the ‘tone poem.’ While Liszt was the real inventor of the tone poem and Wagner contributed-for all his respect and love for Beethoven’s symphonies-enormously through his operas to the break-up of the classical symphonic forms, it was Strauss, in Don Juan, Till Eulenspiegel, and some of his other tone poems, who brought this literary-oriented genre to world center-stage. The tone poem clearly stood in direct opposition to Brahms and his classical forms, and led the revolution, along with other brilliant break-through works, like Debussy’s L’Apres-Midi d’unfaune (1892-94), and the virtual decimation of the symphonic form(s) by Mahler in his symphonies and Das Lied van der Erde, that eventually brought down the entire house of classical forms.
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Martin-Liao, Tienchi. "A Life like a Symphonic Poem:." In The Journey of Liu Xiaobo, 411–13. Potomac Books, 2020. http://dx.doi.org/10.2307/j.ctvxrpxhh.65.

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Allis, Michael, and Paul Watt. "Introduction: The Symphonic Poem in Britain." In The Symphonic Poem in Britain, 1850-1950, 1–12. Boydell and Brewer, 2020. http://dx.doi.org/10.1515/9781787448414-005.

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Watt, Paul. "The Symphonic Poem and British Music Criticism." In The Symphonic Poem in Britain, 1850-1950, 55–79. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvt1sjqq.9.

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"Dance between the Symphonic Poem and Stage:." In Paul Dukas, 187–220. Boydell & Brewer Ltd, 2019. http://dx.doi.org/10.2307/j.ctvb4bvkr.13.

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Conference papers on the topic "Symphonic poem"

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Wang, Chenghong. "The Rondo-Thinking in the Symphonic Poem “Festival of Rome”." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.022.

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Rusu, Mihaela. "THE SYMBOLISM OF THE MOUNTAIN IN THE EUROPEAN AND ROMANIAN SYMPHONIC CREATION CASE STUDY: RICHARD STRAUSS - ALPINE SYMPHONY AND CSIKY BOLDIZSAR - THE MOUNTAIN TONE POEM." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.034.

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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
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4

Lee, Kuo-Ying. "The Technological Revolution of the Coloured Organ in Alexander Scriabin’s Fifth Symphony, Prometheus, Poem of Fire." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.022.

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5

Bergantini, Loren. "Sinfonia para a solidão (2019-2021): Abordagem poética de processos multissensoriais no contexto pandêmico." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.159.g242.

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“Sinfonia para a Solidão” (Symphony for the Solitude) é um wearable que detecta a distância social entre o usuário e os demais corpos humanos, expressando-a por meio de estímulos táteis e auditivos. Dois sensores calculam a distância e a presença de indivíduos próximos. Se uma abordagem for detectada, a pele do(a) usuário(a) é estimulada pela vibração de micromotores e os sons são reproduzidos por um pequeno alto-falante acoplado ao wearable. O material que compõe a vestimenta é feito de bioplástico de tapioca, com inserção de folhas de chá de canela, cúrcuma e camomila desidratada, agregando uma camada de cheiros e texturas ao trabalho. A obra tem como objetivo discutir a solidão decorrente da necessidade de isolamento social devido à pandemia desencadeada pela COVID-19. Alerta a aproximação de outras pessoas ao emitir avisos sonoros. Ao mesmo tempo, conforta o(a) utilizador(a) com vibrações na pele e com o cheiro de ervas, que alude ao ambiente privado protegido e à comida caseira. É uma sinfonia de estímulos para abordar as consequências físicas e psicológicas do distanciamento social, bem como alertar sobre o perigo da contaminação do vírus, que ocorre principalmente pela proximidade e contato direto entre as pessoas. O processo criativo para a concepção e design do wearable ocorreu no contexto de políticas de distanciamento social. Portanto, o desenvolvimento do experimento foi altamente influenciado pela cultura “Do It Yourself” (DIY) e pelas informações compartilhadas pela comunidade on-line. A parte técnica da peça foi construída na plataforma open source Arduino, e a investigação do bioplástico de tapioca foi influenciada pela receita compartilhada por Rafaela Blanch Pires e Helena Kussik, da AdaLab/UFG (Universidade Federal de Goiás/Brasil). O uso do bioplástico da farinha de mandioca (tapioca) é ecologicamente correto e também reflete como a herança alimentar brasileira pode influenciar as novas artes midiáticas. O experimento foi desenvolvido durante uma pesquisa de doutorado, que teve como foco a pesquisa de processos multissensoriais por meio da associação de arte, ciência e tecnologia. O objetivo principal da investigação foi identificar as contribuições da arte para o tema. Os resultados sugerem que os artistas podem fazer isso expandindo esta pesquisa em diferentes contextos sociais, culturais e políticos. “Sinfonia para a Solidão” foi criada neste quadro e está relacionada com uma série de experiências artísticas que investigam a percepção multissensorial através do desenvolvimento de wearables, como “Spiel”, de Peter van Haaften e Michael Montanaro (2019), “Neoteny”, de Hui Sim Chan (Sim) (2018) e “SHE BON”, de Sarah Petkus (2018-). A relação entre teoria e prática foi explorada por meio de levantamento bibliográfico sobre o tema em contextos científicos e artísticos, bem como pela análise de obras de arte e pelo desenvolvimento de experiências poéticas. Este processo híbrido de pesquisa resultou em um diálogo estreito entre as referências artísticas e teóricas.
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