ELEMENTS OF THE MUSICAL DISCOURSE IN “FUM (SMOKE)” BY DOINA ROTARU by Şerban MARCU

“…The structural analysis also emphasizes the continuous variation process, starting from a generative motive which includes almost all elements of language the work is based on: Rubato rhythm, chromaticism, Enescu’s “x” cell, glissando and appoggiatura. …”
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ANALYTICAL JOURNEYS IN THREE PIECES FOR CLARINET SOLO BY CORNEL ŢĂRANU by Cristian BENCE-MUK

“…The third piece, Cadenza, is based on a nucleous made up of (major and minor) second and augmented fourth, transposed and built on various sounds, serving to an expressivity close to that of the lament, suggestively presented by the descending glissando. …”
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THE CHORAL OUTLINE IN THE OPERA “ALEXANDRU LĂPUŞNEANU” BY GHEORGHE MUSTEA by Luminiţa GUŢANU

“…When writing the choral score, the composer uses the sound calligraphy of folklore (particularly through melismas, appoggiaturas, glissandos, etc.), as well as rhythmic patterns specific to folk music. …”
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