AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: LAVINIA CHERECHES.
DOI: 10.24193/subbmusica.2019.2.13
Published Online: 2019-12-10
Published Print: 2019-12-20
pp. 229-259
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The present paper provides a descriptive analysis of the Sept fragments de Tristan Tzara, a unitary song cycle, organized on the basis of an internal dramaturgy, in which the poet’s verses (used in French in original) outline the thematic framework pervaded by the central idea of love. The unity of the interpretation of the cycle of the Seven fragments from Tristan Tzara can be achieved only after a deep knowledge of the expressive and symbolic springs of the musical-poetic discourse. The study of the musical segments closely leads to the comprehension of the musical language in the process of decoding the encrypted meanings in the score, an image of the whole being configured only when the cycle is complete. The elements of assimilation, memorization and interpretation will be tracked and chiselled into the vocal-instrumental duo throughout each song. The vocal techniques used vary according to both the particularities of the language elements and the way of their psycho-affective representation in interpretation. The vocality, adapted to the rhythmic and metrical writing of the pieces, requires a perfect mastery of the interpretive technique. The vocal part, as a constitutive part of a musical discourse with a modal language of synthesis, is emphasized by the writing in the piano accompaniment, in which the chordic structures are either gravitational or geometric. Analysing the form of the works, we concluded that, in each case, they are entirely subordinate to the needs of a dramatic sense and closely related to the poetic and musical images. Nevertheless, our paper is embedded within a personal interpretative vision on the “fragments” of the cycle, bearing the imprint of the subjectivity that resides in the personal reception of the meanings of music.
Keywords: song cycle; voice training; artistic image; vocal emission; intonation
