[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=”{}” theme_builder_area=”post_content”][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=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n
Maria ENESCU:<\/strong> The valorization of Romanian musical folklore in the choral work \u201dNevasta care iube\u0219te\u201d by Gavriil Musicescu<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n DOI: 10.63702\/csembe.2025.1.8.02<\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Keywords<\/strong>: Gavriil Musicescu; Romanian choral music; 19th century; Romanian school of composition; Nevasta care iube\u0219te;<\/span><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Abstract:<\/strong><\/p>\n The forerunners of Romanian music placed special emphasis on reflecting the national character in their works, being deeply influenced by the richness and diversity of popular creation. The composers of that period sought to integrate elements of folklore into their music, thus contributing to the consolidation of a distinct, authentic and representative musical identity for Romanian culture. In this context, Gavriil Musicescu distinguished himself through his unique artistic vision, managing to combine Romanian musical traditions with modern forms of composition. Thanks to his remarkable personality and innovative approach, Musicescu has secured a leading place in Romanian choral music, becoming a role model for many Romanian conductors and composers. His contributions to the development of Romanian choral music, especially through the promotion and valorization of folklore, were essential for the evolution of this musical branch.<\/span><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n References: 1. Breazul, G. (1966). Pagini din istoria muzicii rom\u00e2ne\u0219ti, Bucure\u0219ti, Rom\u00e2nia: Editura muzical\u0103. [\/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=”{}” theme_builder_area=”post_content”][et_pb_button button_url=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/12\/CSEMBE-2025-2.pdf” button_text=”Articol PDF” _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_button][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/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=”{}” theme_builder_area=”post_content”]<\/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=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/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=”{}” theme_builder_area=”post_content”]<\/p>\n
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<\/span>2. Stoicescu, \u0218. (1934). Lui Gavriil Musicescu \u2013 Omagiu, Ia\u0219i, Rom\u00e2nia.
<\/span>3. Br\u00e2ncu\u0219i, P. (1969). Istoria muzicii rom\u00e2ne\u0219ti, Bucure\u0219ti, Rom\u00e2nia: Editura muzical\u0103.
<\/span>4. Breazul, G. (1962). Gavriil Musicescu \u2013 schi\u021b\u0103 monografic\u0103, Bucure\u0219ti, Rom\u00e2nia: Editura muzical\u0103.
<\/span>5. Musicescu, G. (1958). Opere alese, Bucure\u0219ti, Rom\u00e2nia: Editura muzical\u0103.
<\/span>6. Musicescu, G. (1889). 12 Melodii Na\u021bionale culese, armonizate \u0219i aranjate pentru cor mixt \u0219i piano, Leipzig, Germania.
<\/span>7. Ro\u0219ca, L. E (2024). Contextul mioritic \u00een cvartetul de coarde, \u00een CERCET\u0102RI \u0218I STUDII. Etno-Muzicologie, Bizantinologie \u0219i Etnologie, Vol. 5, Nr. 7 \/ 2024, p. 45. Timi\u0219oara, Rom\u00e2nia: Editura Eurostampa.<\/span><\/p>\n
<\/strong>01.11.2025<\/strong><\/p>\n