[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_enable_color=”off” background_image=”http:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/paper.jpg” custom_padding=”||0px||false|false” animation_style=”fade” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Lucian Emil RO\u0218CA:<\/strong> MIORITIC CONTEXT IN THE STRING QUARTET<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n DOI: 10.63702\/csembe.2024.1.7.45<\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Keywords: <\/strong>Composition; string quartets; folklore; structure; analysis;<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Abstract: [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n References: [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”16px|16px|16px|16px|false|false” border_radii=”on|8px|8px|8px|8px” global_colors_info=”{}”][et_pb_button button_url=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/06\/7_04-Rosca.pdf” button_text=”Articol PDF” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_button][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Published: [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||8px||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n License:<\/strong><\/strong><\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/04\/CC_logomark2.svg” title_text=”CC_logomark2″ _builder_version=”4.27.4″ _module_preset=”default” max_width=”50%” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n This work is licensed under a Creative Commons Attribution 4.0 International License.<\/span><\/a><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
<\/strong>The modern era is becoming biased towards composers’ growing interest in instrumental music. The orientations towards neoclassicism, impressionism, expressionism, in which folk influences make their presence felt, enrich the diversity of languages and genres, on tonal or tono-modal structures, animated by the combination of folk rhythms. The most important founding member of this branching structure is the string quartet, to whom the Renaissance gave the opportunity to be guided on the road to accessibility. Under the strong influence of orientalism and Byzantineism, the territory that would become Greater Romania at the end of World War I will gradually know, since then, the Western influences imported through access to education and the diversified offer of the repertoire of famous soloists, who performed on the stages of large cultural centers such as Bucharest, Iasi and Timi\u0219oara but not only. This paper aims at a sketch of the repertoire retrospective of the creations that have laid pages of undeniable value in the history of Romanian music, in terms of string quartet.<\/p>\n
<\/strong>– Berger, W.N. (1979). Cvartetul de coarde de la Reger la Enescu, Bucure\u0219ti, Rom\u00e2nia: Editura muzical\u0103, 148\u2013176
– Gavoty, B. (1982). Amintirile lui George Enescu, Bucure\u0219ti, Rom\u00e2nia: Editura Muzical\u0103 a Uniunii Compozitorilor din Republica Socialist\u0103, Edi\u021bia a III-a
– Marbe, M. (1961). Cvartetul de coarde nr. 2 de George Enescu. Citation: Muzica, Bucure\u0219ti, Rom\u00e2nia, num\u0103r 8, p. 20
– Ro\u0219ca, L. E. (2008). Aspecte Inovatoare ale Ritmului \u00een Crea\u021bia Muzical\u0103 Rom\u00e2neasc\u0103 (1940-1985), Bucure\u0219ti, Rom\u00e2nia: Editura Muzical\u0103, 46-47
– Carmen S., Petru S. (2005). Istoria muzicii rom\u00e2ne\u0219ti, Bucure\u0219ti, Rom\u00e2nia: Editura Funda\u021biei Rom\u00e2nia de Maine, 34
– Tomescu, V. (1967). Paul Constantinescu, Bucure\u0219ti, Rom\u00e2nia: Editura Muzical\u0103, 341<\/p>\n
<\/strong>15.07.2024<\/strong><\/p>\n