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STRUCTURES AND ARCHETYPAL SYMBOLS IN ROMANIAN CONTEMPORARY CHORAL MUSIC
Abstract
Beginning with the second half of the XIXth century, the Romanian space has known a powerful stylistic orientation, with its own main purpose to exploit the archaic, archetypal chant and melody, specific to the oral traditional Romanian music. The impact was strong and generalized, gathering a great number of composers who, through the approach of all musical genres, have developed the musical language up to a maximal degree of complexity, in a perfect synchronicity with the musical tendencies and currents promoted at the international level. In this context, our study aims to realize a synthesis of the main aspects of style and language reflected in the choral music of the last decades; the guiding marks of analysis and musical systematics point towards both the characteristics of the modal melody, and the diversity of types of writings (polyphonic, harmonic, heterophony etc.).
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References4
The Romanian ethno-musicologist Constantin Brăiloiu calls it like that, specifying that the giusto movement is characterized by the regularity of durations, according to the quality of text syllable; it results in a fusion between the word and the musical sound. The giusto-syllabic rhythm is based on two durations which are invariable in a ratio of 1:2 or 2:1, the quaver and the crotchet.
Emilia Comişel Folclorul copiilor (Children’s folklore), Bucureşti, Editura Muzicală, 1982.
Sigismund Toduţă Doină şi joc, in: 10 Coruri mixte (10 Mixed choruses), vol. II, Bucureşti, Editura Muzicală, pp. 4-12, 1968.
Cornelia Tăutu Ritual pentru setea pământului (Ritual for the Thirst of Earth) de Miriam Marbé, in: Muzica Review, Romania, nr. 10, p. 19, 1968.
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