Narrative Strategies and Intermedial Devices in Gabriel Josipovici’s In the fertile Land by Mário Semião

“…The study of this four-page story focuses on how the structure of the text not only incorporates a violation of narrative levels which acts as a metafictional strategy, but also on how that same disruption is linked with Karlheinz Stockhausen’s musical techniques. In “Brothers” one finds these two features of Josipovici’s writing working simultaneously as a means of foregrounding the text’s own linguistic and textual premises. …”
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CORNEL ȚĂRANU: PROFESSIONAL AND COMPOSITIONAL TRAJECTORY by Cristina ŞUTEU

“…His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. He composed two operas (The Secret of Don Giovanni between 1969-1970 and Orestes and Oedipus between 1999-2001), chamber music, vocal, vocal-symphonic, orchestral, as well as film music. …”
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Arte y medios: Aproximaciones y diferencias by Arlindo . Machado

“…Bach compuso fugas para clave porque éste era el instrumento musical más avanzado de su época en términos de ingeniería y de acústica. Stockhausen prefirió componer texturas sonoras para sintetizadores electrónicos, dado que en su época ya no tenía sentido concebir piezas para clave, salvo que fuera una alusión histórica. …”
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