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In the essential data of choral and vocal creation, Gheorghe Dima retains all the attributes of the romantic language in which he has formed. In his religious choirs and madrigals there is an eminently tonal-functional thought. The features of romantic language are highlighted especially in the way the composer exploits the color of the tonalities, the chromatic and enormous modulations, the tonal leaps, the harmonies and the cadences, the morphology and the phrasing, all contributing to thedoi:10.29302/ar.2018.3.5 fatcat:zqnqb4undzfnjhgohhabxbyxq4