ON-LINE DATABASE of SCIENTIFIC PAPERS
DOI: 10.5593/sgemsocial2014/B41/S14.034

FACES OF MULTIVOCALITY IN OCTETUL DE COARDE OP.7 (THE STRING OCTET OP. 7) BY GEORGE ENESCU

G. Vlahopol
Saturday 1 November 2014 by Libadmin2014

References: International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2014, www.sgemsocial.org , SGEM2014 Conference Proceedings, ISBN 978-619-7105-30-8/ ISSN 2367-5659, September 1-9, 2014, Book 4, Vol. 1, 289-296 pp

ABSTRACT
The personal synthesis between national and universal that Enescu has performed throughout his compositional career is foreshadowed since the time when writing the Octet op. 7, one of the composer’s youth works, that reveals a number of trends and personal marks of the style he gained in subsequent creation. With the new perspective upon polyphony, offered by the multitude of the processes outlined in the twentieth century, the Octet op. 7 by George Enescu offers a personal view upon multivocality, seen from a set of perspectives: imitative polyphony, non-imitative polyphony (heterogeneously free and traditional methods renewed) and heterophony.

Keywords: polyphony, imitation, heterophony, writing, counterpoint