Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)
“Free” Rhythm in Romanian Music. From Parlando-rubato to Heterophony
“Free” Rhythm in Romanian Music.From Parlando-rubato to Heterophony
Diana-Beatrice AndronDepartment of Theoretical Music Studies“George Enescu” University of Arts IaşiHoria 7–9, IaşiROMANIAdianaandron2001@yahoo.com
In its entirety, Romanian music of oral tradition is essentially centered on the monodic archetype, a virtual phenomenon integrating the diversity and multiplicity of sonorous events. Based on it, with or without being “dependent” on folkloric quotation, many Romanian composers have assimilated and refined the characteristics of improvisational-doina-like style, developing monodic structures of high sonorous amplitude, by which they have managed to shape the temporal matrix of major heterophonic developments. This study aims to identify the most significant and substantial connections linking an archaic musical phenomenon – “free”, parlando-rubato-like rhythm – with the world of twentieth century Romanian composition in order to show how complex multivocal phenomena, such as heterophony, are born. Our demonstration is based on a wealth of musical examples drawn from different anthologies of genuine local folk music and representative scores of contemporary Romanian composers (George Enescu, Ştefan Niculescu, Vasile Herman, Myriam Marbe, Mihai Moldovan, Dan Voiculescu, Nicolae Brînduş, Doina Rotaru).
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.