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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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Some aspects of the Vocal Music of Transylvanian German Ethnic (Saxonian) Composers: Rudolf Lassel, Paul Richter and Hans Peter Türk


Tatiana OlteanDepartment of Musicology and Pedagogy“Gheorghe Dima” Music Academy,Str. Ion I.C. Brătianu 25,


Musical training of the composers of the german ethnics in Transylvania, as seen in a larger Balkanic context, was based on master/apprentice tutorship, a traditional way of learning music from german ethnic music teacher, outdating by far the national mass-teaching system of musical training. Young composers would subsequently accomplish their studies usually at prestigious German Conservatories (Leipzig, etc.). Rudolf Lassel (1861–1918), Paul Richter (1875–1950) and Hans Peter Türk (b. 1940) represent, each, a new stage in the evolution of the german ethnic composition, beginning with the final decades of the Nineteenth Century. The research aims to highlight the variety of the german culture as part of the Transylvanian composition field, during the last decades of the Nineteenth Century to the present day, by means of identification of some ethnic particularities, as well as the adopting of the „mere spirit“ of the traditional popular or church music of the ethnic germans as a style feature.


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