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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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Fantasy 29/8 ‘Opening’ the Boundaries of Social Space and Time through Improvisation, Communication and Jouissance Experience. A Dialogue in/about Dialogue between/in Music and Words


Fantasy 29/8‘Opening’ the Boundaries of Social Space and Time through Improvisation, Communication and Jouissance Experience A Dialogue in/about Dialogue between/in Music and Words


Taking into account the fact that the elements of improvisational process often cause numerous and different musical, compositional-technical-linguistic-formal-stylistic ‘dissolutions’ and ‘branching’ and that their greatest effect is associated with the field of musical fantasy and the fantasy principle of music in general, our aim will be to point out all those ‘relieved’ spaces of musical flow that ‘open’ boundaries of social space and time in order to accomplish the realization of cultural transfer and dialogue on example of the composition of Dimitrije Vasiljević and Branko Popović, entitled Fantasy 29/8. In other words, the specific context of communication, which in the case of the mentioned composition the improvisation alone requires, essentially presumes the establishment of a threshold of the situation in which the usual specified conventions are being nullified or reverted and the ‘real’ dialogue becomes possible. In this regard, in Fantasy 29/8, the above dialogue not only inscribes, reads out, realizes itself between west (fantasy, musical way of thinking typical for jazz music, specificity of the performance practice) and east (29/8, direct and/or indirect reference to Balkans music folklore), but also by its intensification through the most effective communication – improvisation (in which are possible both the largest rifts and the loss of rift with the other), preserves différance, and sublimation, catharsis and regression mutually converge and merge in the service...

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