Gyorskeresés

Cím	Abstract	Folyóirat	Oldalszám
A 80-as évek kompozícióinak jelrendszere : jegyzetek Mártha István három mûvérõl	-	1985., 26. évf. 1. szám	92. - 96.o
A narratív analízis szerepe a hangszeres interpretációk összehasonlításában : Bartók Zene húros hangszerekre, ütõkre és celestára címû mûvének Adagiója	abs. The Role of Narrative Analysis in the Comparative Approach to Performances. The Adagio of Bartók’s Music for Strings, Percussion, and Celesta Márta Grabócz This article makes an attempt to synthesize the results of some of my earlier researches. Their aim was to examine in the very details the strategy of the slow movements of Bartók compositions the subject of which is the “meeting of Man and Nature” (Op.10/1 “In Flowers”; Op.12/1 “Preludio”; IVth quartet/III (“Non troppo lento”). With the help of these “intertextual” [comparative] analyses I examine here the “Adagio” of Music for Strings, Percussion and Celesta: namely its strategy (=form) in the specific use of topics (“intonations”). In the last part of the article I compare the performance of six conductors at the key-moments of the 4th section of this palindromic structure (ABCB’A’).	2004., 42. évf. 3-4. szám	483. - 497.o
A programszerûség hatása a hangszeres formák fejlõdésére Liszt zongoramûveiben	-	1980., 21. évf. 3. szám	278. - 300.o
Két bemutató a párizsi elektronikus zenei hangszerkiállításon : kísérlet Eötvös Péter és Hugues Dufourt mûvének ismertetésére	-	1984., 25. évf. 3. szám	301. - 305.o
Liszt és a „filozófiai eposzok”	-	1986., 27. évf. 1. szám	21. - 28.o
Narrativitás-elméletek és az elektroakusztikus zene	-	1990., 31. évf. 1. szám	108. - 112.o
Narrativitás-elméletek és az elektroakusztikus zene	abs. Narrativity and Electroacoustic Music Márta Grabócz This article, finished in 1988, was also published in English and in French (see references in 1^st note), It presents the hypothesis that the autonomy, the dominance of new sounds, new sonorities – controlled by the most recent technology – might recreate a belief in narratives and “reason” in the framework of musical composition. In other words: the new sound objects (“objects sonores”) may incite the composer to search for a strory, to return to the narrative type of discourse, in spite of the actual post-modern, “anti-narrative” cultural environment. Four types of narrative commonly found in electroacoustic music are described. The first two types have the characteristics described by Eero Tarasti in reference to Greimas: the use of descriptive or discoursive musical gentes of past centuries, often called “program music”; and the fragmentation and destruction of traditional narrative forms (see works of Risset, Chion, Subotnick, Reibel, Parmegiani). The third type of new narration uses natural, anthropological or scientific models in the deep structure. (See works of F.-B. Mâche, M. Stroppa, C. Miereanu, K. Saariaho.) The fourth type of contemporary narration is generated in the interaction of space, time and timbre, and also by the juxtaposition of different types of “sonorely filled spaces.” (See works of Risset, Stroppa, Mâche, Bayle.)	2001., 39. évf. 1. szám	57. - 64.o
Tihanyi László „A kos hava” („Krios”) címû darabja és az Itinéraire „iskola”	-	1986., 27. évf. 4. szám	361. - 364.o
A zenei jelentés hetedik nemzetközi kongresszusa : Imatra (Finnország), 2001. június 7-10.	-	2001., 39. évf. 3. szám	345. - 351.o
Jegyzetek a mai francia zenérõl	-	1981., 22. évf. 3. szám	322. - 327.o

Narrativity and Electroacoustic Music
Márta Grabócz

This article, finished in 1988, was also published in English and in French (see references in 1^st note), It presents the hypothesis that the autonomy, the dominance of new sounds, new sonorities – controlled by the most recent technology – might recreate a belief in narratives and “reason” in the framework of musical composition. In other words: the new sound objects (“objects sonores”) may incite the composer to search for a strory, to return to the narrative type of discourse, in spite of the actual post-modern, “anti-narrative” cultural environment.
Four types of narrative commonly found in electroacoustic music are described. The first two types have the characteristics described by Eero Tarasti in reference to Greimas: the use of descriptive or discoursive musical gentes of past centuries, often called “program music”; and the fragmentation and destruction of traditional narrative forms (see works of Risset, Chion, Subotnick, Reibel, Parmegiani). The third type of new narration uses natural, anthropological or scientific models in the deep structure. (See works of F.-B. Mâche, M. Stroppa, C. Miereanu, K. Saariaho.) The fourth type of contemporary narration is generated in the interaction of space, time and timbre, and also by the juxtaposition of different types of “sonorely filled spaces.” (See works of Risset, Stroppa, Mâche, Bayle.)

Grabócz Márta