MUZICALITATE NARATIVĂ ÎN ROMANUL ROMÂNESC
NARRATIVE MUSICALITY IN THE ROMANIAN NOVEL

Summary/Abstract: The present research focuses on the embodiment of the relationship music-literature in the Romanian prose of the 20th century. Two fundamental directions are followed: the first is connected to the introduction of music in the literary text by various explanations related to the characters' options, while the second relates to the parallelism between the manner of construction of a literary text through the adoption of various compositions and methods of construction of musical scores. Literature becomes an imaginary of music providing innovative solutions. Dumitru Tsepeneag introduces a formula adopted in music in the novel Vain is the Art of The Fugue. The text appears as a fugue, causing the number of repetitions to a disharmonic musicality. Bernard, the character of André Gide’s novel Les faux monnayeurs wants to write a novel using this formula of musical Fugue. Tsepeneag succeeds in this attempt and identifies a unique compositional structure. The scientist Baroni is part of the same musical register. His name is perpetrated throughout George Bălăiță’s narrative, The world in two days. Author of an "unwritten Treaty", musicologist and author of articles on music at a local newspaper evokes a portrait of the artist. In an interview, George Bălăiță confesses its preference for the music of Haydn, and in the short prose Cantor he makes short comments on Bach. Beyond the building of the character, the structure of George Bălăiță’s novels is one in which musical episodes go together, constituting an innovative musical score. The feeling of unfinished coincides with insertions that give a distinctive character to George Bălăiță’s narratives. We will also add texts to illustrate the concept of narrative musicality, thus outlining a definition for the Romanian prose of the 20th century. DOI: 10.29302/InImag.2016.7.1

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