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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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Tradition and modernity in the author’s work The Aquarium of Dreams for two pianos and chamber orchestra


Ioan PopDepartment of Musicology“Gheorghe Dima” Music AcademyStr. I.C. Brătianu 25,


I started work for the writing of this piece with a desire to combine the harmonic and the modern melodic world – contemporary methods of expression such as pizzicati, con legno batutta, batutta corda, indeterminate high sounds. This makes the piece “experimental” – with “inserts” from traditional Romanian music – or quotations from folk music. Unexpectedly, the first musical ideas that I wrote have become the conclusion of the piece, and from this written material to the beginning, the piece has developed by itself, in a special way, from the end to the beginning, in other words in reverse, the initial material constituting the starting point for the entire discourse. The title of the piece arises from the aquatic atmosphere which the music conveys, as well as by the areas of fusion of reality and dream. In sketching out the material, I used the technique of collage, through which I took the principal thematic idea of the second part of the concerto for two pianos and string orchestra by J. S. Bach. Regarding the relationship between tradition and modernity, along with the Bachian melody, four other thematic ideas are featured throughout the piece. First comes a “prefabricated” theme, with a modern twist. Then there comes, “in order of appearance”, within a pointillist presentation, the main theme of the Maramureșean song Mă dusei la mândra-n şopru, melodic ideas that will appear...

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