The purpose of this article was to present and analyse some practicing piano methods which are used during secondary piano lessons at the university. The final goal was to show the benefits of these practice strategies in the process of learning a new piano piece. Experience demonstrated that in order to keep students motivated, there is a need for them to know how to approach and study a new repertoire and to be sure that implementing these practice methods will help them gain the necessary skills which will enable them to fluently perform a musical piece.
Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.
The article presents the results of (author's) own research on the students of earlyschool education imitation and the rhythmical improvisation in the light of their stabilised musical aptitudes measured with Edwin E. Gordon's AMMA test and also Edwin E. Gordon's readiness to rhythm improvisation readiness record (RIRR). In the first part of the research the students imitated some rhythmical patterns diversified in terms of difficulty in duple and triple meter and the subsequent part concerned guiding the oral rhythmical dialogue (on the BAH syllable) by the teacher with the application of various rhythmical motives in different metres. The students' both imitative and improvising performances were rated by three competent judges. What was undertaken was searching for the relations between musical aptitudes, improvisation readiness and the pupils' rhythmical imitation and improvisation abilities.
Through this paper we address the students from theatre and music specialists, but also all people interested in elements belonging to Tai Chi practice, considering that these, once introduced into a specific physical exercise program, are beneficial for the development of the respiratory capacity and also for a good physical and mental balance that support the professional skills. These two expressions used in the majority of martial arts, dung-gong movement practice and jing-gong motionless practice are yin and yang aspects and are based on the balance between motion and stillness of the body and the mind.
Musical creativity may be expressed by composers in diverse ways: sometimes they compose fully original works, which are characterized by specific features making them unique. Other times, musicians may feel a particular affinity with colleagues who lived centuries before, or identify peculiar resemblances between the time they live in, and a previous epoch, such as similar cultural climate and approach to life: in these cases, composers may author pieces which show surprising similarities with those of some predecessors. The present study compares a work of the seventeenth century, composed by Barbara Strozzi, and one composed in the 1960s by Peter Maxwell Davies, highlighting their similarities.
Assessment is a distinct stage within the teaching process, aiming to measure the level of the knowledge, skills and competences acquired within a given time frame. The discipline Theory, Solfeggio, Musical Dictation involves a synthesis between the theoretical and the practical side of the matter, and, as a result, it uses specific assessment tools for each side. Modern assessment methods involve personalized systems based on the diversification of types of docimological tests, quizzes, practical tests, etc. In this study we will present a series of personal contributions referring to the contents specific to the discipline Theory, Solfeggio, Musical Dictation taught at university.
Although the Feldenkrais method is quite well-known and used in relation to dance, music, and acting, it is rather uncommon to associate it with animation theatre. The puppeteer’s art is a profession that requires motor skills and sustained physical effort, which demands that the animating actor has an extended consciousness of oneself and of the space. Therefore, the Feldenkrais method can be a useful instrument in the puppeteer’s education and training, as the placing of the body in a relaxed stance, one which helps in the management of pain and effort, facilitates the conscious and creative learning of animation techniques, with an emphasis on the coordination and fluidity of movement. These are learning principles of the art of animation that are successfully used by Nicolas Gousseff, an artist that was formed at ESNAM (École Supérieure Nationale des Arts de la Marionnette de la Charleville-Mézières), and who has specialized in handheld puppets and using the actor’s body as a performative space for this type of animation.
Theatre, dancing and singing are arts born out of a common body that share the same idea and means of expression - the human body, these arts manifesting through the most important condition - the artist. The openings exhibited in the theatrical space, spiritless in some people, pragmatic in others, pass on the intimate message of dancing: substance, essence, density.
In the many musicological researches on the encyclopedic creation of the genius Enescu, a very important aspect - the mass distribution of the great violin art - is less reflected. The present investigation fills in this gap by describing the concertistic and charity activity that George Enescu carried out in Bălţi in the interwar period. In Bălţi, this phenomenon is valorized and George Enescu’s name is immortalized by being conferred to the Children’s Music School only after about 80 years, in 1994. From this moment on, a whole array of cultural and artistic and educational activities begins to unfold, the apex of which consists of three editions of the “George Enescu” Festival-Contest where students - musicians from the pre-university artistic education schools - as well as notorious personalities in the interpretative and pedagogical-artistic field from Moldova and Romania compete.
Process in the context of the vocal-choral culture of the students of the music school. The concept of interdisciplinary is considered as a symbiosis of two or more academic disciplines in the formation of the vocal-choral culture of pupils in the musical-artistic field. In this case, interdisciplinary occurs in integrating the knowledge, capabilities and aptitudes formed, taking into account significant specific factors. Thus, the interdisciplinary approach is carried out through such disciplines as solfeggio, history of music, instrument, ensemble, but also the integration into the vocal-choral of the method of interiorizing the music through the philosophical, musical and psycho-pedagogical aspects.