THE SYMBIOSIS BETWEEN MICROTONALITY AND SPRECHGESANG IN PSALM 124 BY ION COŢOFAN
DOI:
https://doi.org/10.24193/subbmusica.2017.1.19Keywords:
polyphony, heterophony, sprechgesang, microtonality.Abstract
“Psalm 124” by Ion Coţofan is an example of a choral work with religious text designed for a concert hall and not a liturgical service, a sample of the perfect combination between text and the music accompanying it. In the case of this work, one cannot speak of a well-defined melody, but rather of a general dramaturgy making a subtle shift from diatonicism, through chromaticism, towards ultra-chromaticism. The continuous pendulation between polyphony and heterophony, as well as the permanent oscillation between “sprechgesang” and microtonality give birth to a musical work full of tension and drama.References
Giuleanu, Victor, Tratat de teoria muzicii (Treaty of Music Theory), vol. I, Editura Muzicală Publishing House, Bucharest, 1981.
Popovici, Doru, Introducere în opera contemporană) Introduction to the Contemporary Opera, Facla Publishing House, Timişoara, 1974.
Steinhardt, Nicolae, Dăruind, vei dobândi (By Giving, You Shall Receive), Dacia Publishing House, Cluj-Napoca, 2002.
Urmă, Dem, Acustică şi muzică (Acoustics and Music), Editura Ştiinţifică şi Enciclopedică Publishing House, Bucharest, 1980.
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2017-06-20
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MURARU, A. (2017). THE SYMBIOSIS BETWEEN MICROTONALITY AND SPRECHGESANG IN PSALM 124 BY ION COŢOFAN. Studia Universitatis Babeș-Bolyai Musica, 62(1), 269–277. https://doi.org/10.24193/subbmusica.2017.1.19
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