Livia Teodorescu-Ciocanea

National University of Music Bucharest, Composition, Faculty Member

Monash University, Sir Zelman Cowen School of Music, Adjunct

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LIVIA TEODORESCU-CIOCĂNEA Romanian composer and pianist. Teodorescu’s music explores spectralism, neoimpressionism and postmodernism with a powerful lyric and dramatic effect (Oxford music online). She is a Professor of composition at the National University of Music Bucharest and an Adjunct Associate Professor at Monash University, Melbourne Australia. She introduced a new musical poetics called hypertimbralism persueing intertextuality based on timbre. Teodorescu has lectured at Illinois Urbana Champaign, Oslo, Monash and Huddersfield Universities. She has written over 75 works, including: Rite for enchanting the Air and Déesses de l’Air, concerti played by the famous French flutist Pierre-Yves Artaud, Lebenskraft – 2nd Piano Concerto, Archimedes Symphony, Le Rouge et le Noir -3 act ballet based on Stendhal (premiered at the National Opera in Bucharest) and The Lady with the little dog – 3 act opera after Chekhov. Her music has been performed worldwide (Europe, USA, Australia and Asia). As a pianist, she performed Messiaen’s Visions de l’Amen and Turangalîla Symphony (Romanian premières).
Phone: +40744502073
Address: Piata Natiunile Unite nr. 8, Bloc 108, et. 1, ap. 5, Bucharest

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Daniel Cassany

Pompeu Fabra University

Kevin O'Connell

Royal Irish Academy of Music

Antonio S. Río Vázquez

Universidade da Coruña

Svetlana Savic

University of Belgrade

Pedro Filho

Universidade Federal do Recôncavo da Bahia

ken hesketh

Royal College of Music

Gonzalo Díaz Yerro

Conservatorio Superior de Música de Canarias

Fabio Cifariello Ciardi

Trento Conservatoire - Conservatorio di Musica F.A. Bonporti - Trento

Andrés Cea Galán

Conservatorio Superior De Música De Sevilla

Maja Solveig Kjelstrup Ratkje

Norwegian Academy of Music

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Musicology by Livia Teodorescu-Ciocanea

A Plunge Into The Sound Abyss with Livia Teodorescu-Ciocanea

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Interviu MUZICA 5 2018

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Muzica în spaţiul liturgic Interferenţe culturale

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Timbre Versus Spectralism I. A Musicological Background to Timbre and Spectralism

The impact of timbre on musical structure is studied through several aspects of tonality and spec... more The impact of timbre on musical structure is studied through several aspects of tonality and spectralism. The impact of spectro-morphology on musical composition is discussed. Sound spectra data are connected with two aspects of musical language: structure and timbre. Music structuring process and the quality of sonorities are organically linked by spectral phenomenon. Musical systems, such as tonality or spectralism, derive their origin from these sound structures and highlight the relationship between sonic material and its structure. A classification of various tendencies in French and Romanian spectral music is presented. The density of musical information influences the perception of timbre. The concept of "aperceptive modulations" (i.e. the transformations of sonic perception, according to the density of the musical texture) is proposed. This study concludes with a presentation of my own compositional responses to these matters.

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Spectral examination of Byzantine Chant archetype

In this article, a particular hypostasis of Byzantine chant was chosen to be spectrally examined,... more In this article, a particular hypostasis of Byzantine chant was chosen to be spectrally examined, from the multitude of possible variants: a melodic structure accompanied by a simple bass drone called Ison, placed bellow the melody and sung by male choir. This model is referred to in this paper as Byzantine chant archetype and is further approached from the spectral listening perspective. Psychoacoustic analysis criteria were used, such as: holistic/analytic listening, sound fusion/fissioning, sensory consonance/dissonance, harmonic entropy, etc. The research is an attempt to demonstrate that Byzantine chant with Ison presents an ideal situation for sound fusion perception and holistic listening. The persistence of the fundamental pitch (Ison) over the melodic structure acts in favor of partials fusion of the two layers into one perceptual entity. Starting with Western medieval organum, polyphonic practice broke with the monolithic perceptual entity provided by the Ison by simply moving the bass line and later filling it in with chords resulting from the multipart structure. The perception mode shifted from sound fusion to sound fissioning. The way we hear the polyphonic texture is of an analytic nature (analytic listening mode). It appears that Western music culture developed a more analytic model of hearing while the Eastern one relied more on a holistic listening type.

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