George Draga and the Concept of Heterophony in the Seventies
George Draga and the Concept of Heterophony in the Seventies

Summary/Abstract: The first half of the twentieth century brings forth a less known musical syntax in that time: heterophony. Resizing its archaic meaning as a phenomena occurring in the oral creation of traditional music, it became a novelty in the language of twentieth-century composition in the middle decades of 1900. Not only that it created the basis for theoretical explorations within the context of contemporary music, but this also made way for a substantial broadening of what we understand by heterophony. New phenomena were placed in the same existential space, even if, individually, they seem to belong to different worlds. This essay aims to clarify the distinctions between the theoretical strands and takes a Romanian composer, George Draga, as a case study for one of these types of understanding.

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