Abstract
Composed on the background of heterophony “Solo for marimbaphone and vibraphone” remains a unique opus in the genre’s literature. Certainly, an opus which highlights the composer’s remarkable style and talent for creating new compositional techniques having links with modern mathematics, especially with graph theory and group theory. That is why this work illustrates the composer’s modern vision on music in respect with the rising of heterophony, at the standard of syntax and stylization proper to XX century contemporary music. This article seeks to demonstrate that the aesthetic value of “Solo” is given by an internal unity making both marimbaphone and vibraphone complete heterophony, to give out a simultaneous variation of a single melodic line.
Keywords: heterophony, sound edifice, intensity and string of sound events
Publisher
Babes-Bolyai University Cluj-Napoca
Reference10 articles.
1. "1. Brown, Steven. "Contagious heterophony: A new theory about the origins of music". Musicae Scientiae, Spring 2007, Vol XI, n° 1, 3-26.
2. 2. Muraru, Aurel. The symbiosis between microtonality and sprechgesang in Psalm 124 by Ion Coţofan. STUDIA UBB MUSICA, Cluj, (LXII) 2017.
3. 3. Niculescu, Ştefan. Reflecţii despre Muzică (Reflections on Music). Romanian Academy Publishing House, Bucharest, 2006.
4. 4. Nietzsche, Friedrich. Nasterea tragediei (The Birth of Tragedy). Pan Publishing House, Bucharest, 1992.
5. 5. Pärtlas, Žanna. Theoretical Approaches to Heterophony, in Rev. Musica 8, 2016.