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Musical Romania and the Neighbouring Cultures

Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)


Edited By Laura Vasiliu, Florin Luchian and Loredana Iatesen

This book represents the volume of the International Musicological Conference «Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities», which took place in Iaşi (Romania) and was organised by the George Enescu University of Arts Iaşi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.
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The Valorisation of the Universal Saloon Music in the Romanian Music Works


Cătălina ConstantinoviciDepartment of Theoretical Music Studies“George Enescu” University of Arts IaşiStr. Horia 7–9, Iaş


Ever since the period when the balance and symmetry have dominated Classicism musical, in the salon music were included both academic works and pieces of entertainment music or popular origin. Its repertoire was adapted and gradually was changed, but its diversity was preserved. In Romanian space we might speak about salon music starting with the nineteenth century, when the program included pieces of classical music. Over time, were included genres that reflect the “spirit of time” as Lucian Blaga said: waltz, polka, gallop, quadrille, and the Latin American area which “decorate” the atmosphere of Romanian salon : rumba, mambo, samba, foxtrott or Charleston. Waltz has kept a key role and has influenced classic Romanian composers, or the music entertainment ones, which have preferred it and have highlighted it, had configuring it for various instruments or had included it in academic compositions. Through this paper I will present the main instrumental categories used by Romanian composers, from the nineteen and twenty century, and I will stress how the salon dances were orchestrated for being parts of academic compositions.


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