%0 Journal Article
%T Finalurile enesciene, de la   ncununarea operei¡± la modelarea percep iei timpului muzical
%A Constantin Secar£¿
%J Studii si Cercetari de Istoria Artei : Teatru, Muzic£¿, Cinematografie
%D 2009
%I 
%X The continuous and simultaneous shaping of articulated space and time is a defining feature of Enescu¡¯s style. Although many, the phenomenological, archetypal, stylistical and aesthetic studies of the composer¡¯s work, either globally or punctually, still leave room for interpretation and analyses of Enescu¡¯s complex language. This article is an analytical approach of George Enescu¡¯s representative opuses, from the point of view of time perception in their finales. The analysis centers on the endings¡¯ structural typology and their reverberation in the perception and memory of the audience. The characteristics and models of musical time (continuity/discontinuity, density, horizontal/vertical thrust a.s.o.), along with the use of formal patterns that distinguish Enescu¡¯s works as they give a musical-spatial dimension to the sound material are emphasised as the two poles of an energetic relationship between reason and emotion in the characterology of Enescu¡¯s musical output. The conclusions bring out the importance of the new studies of Enescu¡¯s work, constructed from a fresh perspective that matches the freshness of his music, which in Pascal Bentoiu¡¯s words, ¡°through the coagulation of artistic moments, still awaits the encounter with the listeners¡¯ understanding and sensitivity¡±.
%K George Enescu¡¯s representative opuses
%K characteristics and models of musical time
%K George Enescu¡¯s musical style
%K musical archetypes
%K musical aesthetics
%U http://www.istoria-artei.ro/resources/files/art.07_Secara_-_FINALURILE.pdf