OLEG NEGRUŢA’S ELEGY FOR TROMBONE AND CHAMBER ORCHESTRA IN THE VISION OF THE PERFORMERS ANDREI TSUKANOV AND VLADIMIR ŞANDOV: A COMPARATIVE ANALYSIS by IUNCU, ALEXANDRU, ANDRIEȘ, VLADIMIR

“…This article presents the musicological and interpretive analysis of Oleg Negruţa’s Elegy for trombone and chamber orchestra. The deeply melancholy piece is a tribute to the memory of the composer’s father – Petru Negruţa, who was a trombonist in the Odessa Opera House Orchestra. …”
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Specificity and the contents of vocational training of the future teacher of music in an orchestral class by T.M. Plyachenko

“…The specific character and the content of the educational activities of the Art Department students of the Pedagogical I University in the chamber orchestra are covered in it. …”
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CONTEMPORARY AND TRADITIONAL PATTERNS IN BRUNO MADERNA’S VOCAL WORKS by Ioana BADIU-AVRAM

“…Maderna's opera covers a wide range of sonorities and combinations of vocal and instrumental groups: piano and voice, chamber orchestra and voice, double orchestra with soloists and chorus, orchestra and piano, orchestra and solo wind instruments, orchestra groups and percussion, violin concerts, orchestra and electronic music, pure orchestral pieces, music for radio, film and ballet. …”
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Linda Hutcheon’s Theory of Parody and Its Application to Postmodern Music by Violetta Kostka

“…Among them are the second study from Two Studies for piano (1986) and Through the Looking Glass…I for chamber orchestra (1987). Both these pieces are two-level and algorithmic music. …”
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Discursos y prácticas en torno a la construcción de una “escuela cubana de composición”: José Ardévol, el Grupo de Renovación Musical y la Orquesta de Cámara de La Habana (1934-194... by Belén Vega Pichaco

“…In the second one, regarding musical practices, it is analysed the activity of the Havana Chamber Orchestra, founded in 1934 by Ardévol as a platform for the Group’s and his own work; a study that has been undertaken on the basis of the unpublished documents kept at the CIDMUC (Havana). …”
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