- Global Music


mus-e-journal - Online Journal

The online mus-e-journal  presents research papers of musical disciplines and arts such as musicology/ethnomusicology, theory, technology, education, in addition to composition and performance.  
"mus-e-journal" was founded in January 2008 as a non-profit online magazine in order to promote the musical arts and sciences and is published semiannually by the Muse Institute in English and Greek.   Submissions are welcome for evaluation at:

Editorial Board

Editorial Board

The Editorial Board is comprised of internationally recognized musicologists, theorists, composers and performers, most of whom hold doctoral degrees, teach in leading universities, or direct music ensembles and institutes in Europe and the US.

Honorary Advisory Board

Honorary Advisory Board

Dinos Constantinides, PhD: Professor, School of Music, Louisiana State University

Frederick Hemke, DMA: Professor, School of Music, Northwestern University

Dimitris Themelis, PhD: Emeritus professor, Department of Music, Aristotelian University

Stephen L. Syverud, PhD: Professor, School of Music, Northwestern University

Mike Vaughan, PhD: Professor, Director of the School of Humanities, Keele University 
Ανδρέας Γεωργοτάς: Αναλυτική προσέγγιση στο έργο του Αθανάσιου Ζέρβα, RITUALS for Viola Print E-mail
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Ημερομηνία δημοσίευσης: 29/09/2015

Η παρούσα μελέτη προσεγγίζει το έργο RITUALS for Viola αποτελώντας φύσει λεπτομερή προσέγγιση του έργου του Αθανάσιου Ζέρβα για σόλο βίολα.  Ο συνθέτης στην αρχή του έργου του αναφέρει σχετικά:

“Rituals for viola (2015) is based on borrowed material from a former composition for solo cello titled Manipulations I, and few motivic cells from Ralph Shapey’s “Mother Lode”, which is his bank of pitch, intervallic, and rhythmic materials. All borrowed materials are personalized, transformed and further developed in the course of the composition in a ritualistic manner. The subsections of Rituals are sub‐titled in order to, perhaps, hint a mood and/or motivate a state of mind for the soloist. The composition can be loosely considered as a Rondo‐ Variations form and explores the idea of two rotating textures: monody vs‐ chordal.”


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