Abstract
The plurality of aesthetic-musical currents such as French impressionism, Austro-German expressionism, national schools of composition focused on modal sound languages (initially ethnophonic and later totally “personalized”), to which will be added the acutely contemporary returns to already recognized compositional manners such as neo-baroque, neo-classical sound projects, etc., emerging from the great trunk of European post-romanticism, outline a practically unlimited stylistic horizon, offered to the creative imagination of artists through new sound vibrations, dedicated to the contrabass instrument.
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