Content area
Full Text
Abstract: The heterogeneous multitude of currents, directions, concepts, which characterize the music of the 2nd half of the 20th century, defines the evolution dynamics of the entire modernist movement. It thus foregrounds the post-modernist current in particular. Spectral music is living proof in this respect, it is a significant standpoint which assumes the part and embraces it, re-establishing a temporal, spiritual, cultural axis that connects the beginning of music history to the living present by practising with music based on natural resonance. One of the outstanding representatives with works circumscribed to the spectral zone is Octavian Nemescu and his work Negantidiadua is the body of evidence.
Keywords: spectralism, negantidiadua, duality, archeype, natural resonance
1.Spectral movement in France and Romania
Saturation of compositions with dissonances, their ostensible departure from the fundamental, the use of the cluster that could be formed due to the zone of the very distant harmonics determined some composers to manifest a wish to recuperate the area of the natural resonance of the sound. All the above features determined the emergence of the spectral movement present first in France - including as main promoters the likes of Gerard Grisey (1946-1998), Tristain Murail (b.1947), Hugues Dufourt (b.1943), Michael Levinas (b.1949) - and also in Germany with the works of composers Karlheinz Stockhausen (1928-2007), Johannes Frisch (1941-2010), Mesias Maiguashca (b. 1938), Peter Eotovos (b.1944), Claude Vivier (1948-1983), Clarence Barlow (b.1945).
What determined the spectral influence on Romanian composers was an awareness of the possible relation between conception and perception (Şurianu 1997, 40). Corneliu Cezar (1937-1997) is the one credited with setting the pathway, and devising the theory on this characteristic of spectral music. He opposed serialism which he considered as a "totalitarian sonorous system which has distanced music away from the profound nature of the sound" (Irinel 1997, 56). In works such as AUM (1965) for magnetic tape and a variable ensemble, Taaroa (1968) for magnetic tape and clarinet, The never ending day (1972) and Rota (1977) - for magnetic tape and variable ensemble, Cezar employed a series of principles tangential to the spectral compositional universe. For example AUM resorts to the entire of the acoustic spectrum included between 1 and 16 of C and proposes a type of omophone, isonic music constructed on...