The songs of transition in the creation of Ion Aldea-Teodorovici from the confluence of the 1980s-1990s: problems of approach

Abstract

Trying to understand the role of the historical-social mechanism in the evolution of musical creation in the Republic of Moldova, we argue the methodological necessity of delimiting, studying, conceptualizing and systematizing a distinct cultural category in the compositional work of Ion Aldea-Teodorovici, which is closely related to the era of perestroika in the former USSR from the confluence of the 1980s-1990s. Articulated in the genre of folk music and in alternative stylistic or fusion versions of pop-folk, rock-folk, pop-rock, we conventionally call this category of creations with the generic term “transition songs” or “songs of transition”. These constitute a sub-compartment of the broader category of politically inspired creations, which specialists call “patriotic songs” or “national songs”. The songs of transition provided an effective means of “political mobilization of the aesthetic” in the former Moldavian SSR. The meaning, the message, the semantic structure, and aesthetic function of the transition songs are extremely relevant from a historical and social point of view, a fact that gives to the composition work of Ion Aldea-Teodorovici the status of an important source in the decoding and perception of the history, memory and national cultural identity.