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StatutTeza a fost susţinută pe 16 decembrie 2004 în CSS
şi aprobată de CNAA pe 24 februarie 2005
This paper is concerned to the study of the works composed for the wind instruments after the WWII, the period of value for musical culture of Moldova. In the second part of the XX-th century composers from Moldova have brought to the world a lot of works for wind instruments in different genres and musical forms.
Another side of the research belongs to the history of the wind instruments that during the time have achieved larger spaces of evolution, and have affirmed themselves as instruments of new and unknown expressivities, capable of rendering in a convincing and lapidary way the musical message. In this order of the ideas we have suggested to have in view the forms of manifestation of the wind instruments, in the century musical practice of our people, until their constitution as an independent form of art.
This work comes to make up the deficiency of such monographic studies, which could shed the light on these phenomena of art.
For the first time in the musical science about music from Moldova semantic and structural analysis of small forms and cyclic works is done. It was rendered significant number of musical works, especially those composed in ‘80s and ‘90s of the XX-th century, emphasized pecularities which reflect the last achievements in the musical art. The summary of data concerning function and role of the wind instruments in development of the aboriginal musical culture is presented.
The obtained results has led to development of plurivalency of the examined
phenomenon in stylistic and architectonic point of view which permitted to appear
to some new investigations concerning points of study componistic instrumental
creation, and also could open new horizons to comparative analysis of the musical
forms and genres, to the study of expressive possibilities of the instruments’
timbres, especially of the wind instruments.