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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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Dan Dediu’s Artistic Identity Reflected in Frenesia and Mantrana


Mihaela-Georgiana BalanDepartment of Theoretical Music Studies“George Enescu” University of Arts IaşiStr. Horia 7–9, Iaş


In the present paper, the author proposes an exploration of Dan Dediu’s orchestral works Frenesia op. 84 and Mantrana op. 94, starting from the complex personality of the composer, who made himself remarked as a central figure of the young generation of Romanian composers. His musical activity is spread in the last decades of the XXth century, his creation having a significant number of compositions until present (in 2000, at 33 years old, his creation had already reached the number 90). His musical universe and way of thinking can be characterized using terms such as originality, stylistic and aesthetical diversity, coherence, equilibrium, paradoxical synthesis between old and new, classical and experimental, usual and unusual, known and unexpected solutions. The purpose of this study is to surprise the essential aspects of his creative personality in two of his orchestral works (Frenesia op. 84 and Mantrana op. 94), beginning with the composing process, aesthetical vision, semantic function of the titles and connection between the external elements and the musical content itself.


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