Abstract

The Romanian composers of the second half of the twentieth century made ​​the transition from tonal-functional harmony to an appropriate harmony for the Romanian folklore. In the first stage, most composers still used the triad as harmonic superposition, as well as the idea of functional relationship, i.e. dominant-tonic. Soon, however, certain composers started to evolve towards a harmony that was fully adapted to the melodic mode (modes) of each melody, in which case the harmonic verticality adopted a superposition consisting of any intervals (second, fourth, fifth, seventh). In his choral music, Tudor Jarda follows exactly this route of constant immersion into the modal system of the Romanian folklore.

Keywords: Tudor Jarda, choral work, aleatoric elements, cluster, glissando

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