Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.
Musical pedagogy has a long way of training and development. Over the decades, we can follow schools, systems and personalities through which this area is grounded. Based on various factors, such as the geographical location, the purpose of the system or school pursued, the possibilities of interpretation, the contemporary musical pedagogy enumerates well-known personalities, on whose researches this field is based. Dm. Kabalevsky’s name and his successors notably record in the musical-educational system of the Republic of Moldova.
The paper examined the dialectics and the Philosophical Theorization of the Phenomenon of Industrial design viz-a-viz meta-design, both as new areas of the philosophical discourse and intellectualization of both fields. This is not only as new subject disciplines / profession but also as New/Novel, and “uncharted waters” in the study and philosophy of both. Which is aimed at their adoption as a veritable tool and vehicle, for achieving New and innovative franchises and enterprises that might thus help bring about creating potentially New Design paradigms. In the body of the text it was established that by employing interdisciplinarity and collaborative efforts / approaches, designers try to achieve these New design efforts which are inspired by the way living organisms, systems and mechanisms, function and work. This eventually will influence, change or completely overhaul the way we feed, cloth ourselves, shelter, communicate or even co-habit in the future. The paper also established that the implications of the above will help engender a new narrative in the discussions and reasoning (or the dialectics) of these two disciplines and also of how they will affect the subjects practice and the various attempts aimed at its Pedagogy /Education. It was also established that the nature of such an Education and the Impartation of the adequate Design skills to graduates must adopt New strategies and implementation of an Industrial/Technological-based subject-Bias that leans towards Design intuitiveness, ingenious Technical/Technologically result oriented reasoning and practices. Bearing in mind the infusion also of various multidisciphinary subject areas that will help broaden the learner’s horizon. The paper recommends that the issue of the Dialectics and phenomenology of Industrial Design/Meta design (which is the philosophical study of the structure and makeup (or consciousness) of the concepts, context and content of industrial design) must be embedded in the implementation of the three conceptual Approaches of Design which are:-Design Awareness, Design Activity and Design Manufacture/fabrication. This is the sum total of all Design and Creative endeavours.
The accuracy of absolute pitch has often fallen into mythical perspectives, as this rare ability tends to fascinate people through its spectacular results. Many people tend to think that a musician with absolute pitch is always capable of identifying the musical note of any sound in any circumstances. The research literature has revealed that this is rarely true. Although there is a significant difference between real absolute pitch owners and pseudo-absolute pitch owners, the accuracy of absolute pitch is highly influenced by a series of musical factors such as: pitch chroma, pitch height and musical timbre. Therefore, it has been proven that the best absolute pitch accuracy manifests for medium pitch sounds, while very high or very low sounds tend to often be misidentified. Even more, absolute pitch owners tend to make an unusual mistake of misidentifying the octave. The familiar sounds (for example from the instrument the musician has studied in childhood) tend to produce less identification errors. Nevertheless, the piano timbre is usually associated with the best accuracy of absolute pitch. The aim of the present research is to synthetize up-to-date literature regarding the way these factors influence the accuracy of absolute pitch. The study focuses on the idea of normalizing the general perspective of absolute pitch accuracy, as musicians and teachers often tend to have very high expectations regarding this ability. The educational implications of the new perspective drawn here contribute to a better relation between teachers and students, as well as to a better understanding of this interesting musical ability.
Moldavian by nature and genius by vocation, maestro George Enescu remained captured in the universal consciousness as an accomplished violinist, composer and as an amazing and inspired musician – pianist which gathered in an admirable synthesis elegance, refinement, impressionist tones, romantic flames, classic – German construction, all these under the aura of a profound Romanian feeling. All the Enescian pianistic artistic creation is under the sign of the stylistic unity, of the maximal concentration of the musical substance that carry all artistic emotions and the accumulations of the modern musical expression. The generous, wide and bidding instrumental register covers the adage of “unity in diversity”.
The paper will refer only to one of period of Hallstatt, Middle Hallstatt, an important period of the first Iron Age – that form with Late Hallstatt a unity called by historian the protohistory of the Dacians – bringing important transformations recorded in the human beings’ habitat. The settlements and buildings of the entire Bronze Age reflect the continuation of migrations, though limited, by their sedentarization, but also the fortification of some settlements which became real centres of unions of tribes. The characteristic to the mentioned period is continuity (and then the ending) of the process of unification of the Thracian tribes, a process began in Early Hallstatt. The collision of tribes needed the amplification of settlements, but also of the fortifications and also, step by step, the extending of the Greek urbanism implemented in today’s Dobrogea by the Greeks who started colonies here, the Scythian-Greek incluences are to be found in the Late Hallstatt and in other areas on the nowadays territory of our country. The specificity of settlements and buildings of the cultures from the beginning of Hallstatt on the territory of our country will be studied in their evolution towards the next phase – of the second period of the Iron Age: Latène.
This article introduces the problems that could emerge when undertaking to organize a children symphony orchestra, but also the means of surmounting them. The stress falls on the difficult mission of establishing the specific hierarchy (part master, placement on desks, choosing the concert-maestro), action that proves to be extremely delicate taking into consideration the age category we refer to. Moreover, we pursue the indication of the stages that should be taken into account in order to obtain an independent, functional and adaptable ensemble, given the limited time period until the public show. After choosing the members of the hard core of the ensemble, it is recommended that the master shall empower and present the tasks that one must meet. Thus, the qualities that the chosen children should take into consideration for the purpose of avoiding certain stressed moment or certain syncopes for the optimal operation of the orchestra are presented. Once the premises for a good operation have the created, the professor can transfer certain tasks to the students (tuning, settling the bows, part study, etc.) having as an effect the efficiency of going through the programme under the conditions of a deadline which cannot be exceeded. Furthermore, several recommendations regarding the psychological training of the children for the purpose of surmounting the stress factor specific to any public interpretation are presented.
In Romania at the beginning of the twentieth century women were concerned with the home environment. In an urban environment, however, there had been a re-alignment towards education, women from affluent families having an artistic preoccupation, with them being determined and epochal. Though loved and admired on the stage, the women who embraced an artistic career were not looked upon with total respect by the society as a whole, because they were straying away from ‘their calling’. The opening towards the occident had lit the flame in our womens hearts to reach equality in rights, to occupy a place in society and to fight a prejudice image.
Throughout the entire evolution of events in the history of music, we are finding the presence of a miniature genre, with a fulminatory evolution in the Romantic period. A syncretic genre, by combining poetry with music, lied generated a highly complex and artistically refined result, hence the preferred leaning of musicians towards it. In the approach of a mythologic page transposed into a Romantic view, in Ganymed we find two figures of genius connected: Goethe – writer and philosopher with a special inclination towards versified creations, with a remarkable, long-lasting activity and with a highly profound view on life – and Schubert – prolific composer, with the most representative contribution in the evolution of this genre, by setting down demarcations and also excelling from a quantitative point of view. This analysis begins from the opposite decoding of the acoustic message, from the point of view of the vocal interpreter, including here most of the implicit aspects: from phonetics to prosody, from dynamics to voice quality in the lied genre, from agogics to breathing and pneumo-phonic accord, from formal organization depending on the construction of the stanza.
The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.