In our contribution we point out to the current challenges of the philosophy of art education, which are based on a new perspective on a human being, which also involves a deeper understanding of the aims and forms of artistic pedagogy. The reflected perspective expands the space for the complex development of child personality and the stimulation of his or her creativity. The principles of methodological procedures and the openness of the system take this perspective into consideration in an explored and experimentally verified music-pedagogical model by Juraj Hatrik “The Jewel of Music”. Conceptually, this model opposes unchanging and fixed learning didactic algorithms with the philosophy of atomizing at different levels, intended only for imitation, without the possibility of anticipating and considering the number of possible connections, the effects arising from the streams, and the effects of the interrelated factors that raise the problem from different angles.
Pascal Bentoiu dedicated to the lyrical stage three opuses: the comedy The Love Doctor, the radio opera The Sacrifice of Iphigenia and the tragedy Hamlet. The female choir from The Sacrifice of Iphigenia and the choir from Hamlet use different ways of vocal expression, adapted to vibrations of the word: from recitative chanting or spoken chorus, to melodic articulations. The hegemony of the vocal parameter and the lyrical expression are counterpoised by the feverishness of the dramatic moments. Pascal Bentoiu proposes new elements in the structure of the opera genre, because in Hamlet the conceptual meanings of the overture are replaced by the choral prelude à cappella. The moments of choral treatment à cappella abound in his operas, these moments being full of emotion and expressing a deep sensitivity.
The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
Conventional mentality, according to which, in the teaching activities carried out during the courses of History of Music, the approach of the triad style-genre-language is performed under restrictions and in most cases in a superficial manner, the professor dealing with the usual general correlations (information regarding the epoch, biography and activity of the creator, affiliation of the musician to a certain culture of origin, the classification of the opus under discussion chronologically in the context of the composer’s work) falls into a traditional perspective on the discipline brought to our attention, a perspective that determines, following the processes of periodical or final assessment, average results and a limited feedback from students. For these reasons, it is necessary to use the modern methods of approaching the discipline, new teaching strategies in the comments and correlations on scientific content, so that the problematization of the style-genre-language triad in didactic approach of the discipline The History of Music, to generate optimal results in specific teaching and assessment activities.
The subject of supporting talented young people through educational strategies and educational policies is more and more concerning for the researchers in the area of psycho-pedagogy of excellence. The problems solved by the policies and strategies of supporting talented students have a double nature: some have of a moral and personal nature, invoking the right to equitable education for each and the maximum development of talent for oneself, others have social and economic nature. In order for a person to be creative, to offer innovative solutions to various technical, environmental, social, cultural, etc. a partnership is needed: the talented person and his supporters - the family, the school, the economic environment, the country where he lives. The paper discusses the two major categories of issues generated by the lack of support of young talent, insisting on the phenomena of intelligence migration.
Contemporary psychologist Didier Anzieu249 speaks of five phases of the process of creation: creative emotion, gaining consciousness, transposition, elaboration, and exposure. Each of the five phases has a correspondent in the stages of development of visual-plastic educational activities, and the role of the teacher is essential in each of them. Starting from the five phases, we propose an approach pattern to the creative process, adapted and developed during the years of experience in pre-university educational environment, and refined throughout the research activity carried out in the university environment.
The origin of success must be sought in man, in his abilities. In the approached theme, we pay attention towards the athlete and the actor, in the beginning of their career, when the selection because of physic, mental and artistic abilities is made. The inborn need for the endowment of the athlete and actor seems to be a qualitative one and not a quantitative one. What we inherit, the talent is and always has been contested in sports or art.
In 2018, Romanians celebrate the Centenary – a hundred years since Romania had the largest territory ever inhabited primarily by Romanians, at the same time, a century since Romania as a modern country was born. What do we know about our history in the last one hundred years? What and why do we celebrate? We know too little; many of the Romanians participating in the celebration do not know what it is for. The torrent of pathetic and solemn words about the past is useless. I followed two paths side by side, which happen to be in a natural connection, but sometimes they also go through distinct stages: on one hand, the course of the main historical events from the beginning of World War I until now, and on the other hand, Romanian musical life during the same period. I will cover five historical stages (World War I, Interwar Period and World War II, Soviet Occupation, Ceauşescuʼs era and Post-Communist Period) pursuing four main aims: a) an explicit historical image (as a musician I had a relatively narrow perspective on general historical facts); b) completing superficial knowledge received in school (before 1989) with information to justify certain events; c) the relationship between history–culture–music, in support of the idea that art does not exclude knowledge and civic involvement, on the contrary; d) the Past justifies the Present and together they work upon the Future. In the epilogue I will reveal an example that I consider illustrative for this fourth aim: the project Saving Enescu’s Cottage from Mihăileni. I have made this study mainly for my own benefit, in order to understand the historical facts, but especially to find an answer to the question: knowing history – what’s the use?
Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
The figure of the composer Sigismund Toduţă is among those creators whose style, although having a constant evolution towards complexity over several creative periods, remains essentially unitary from a stylistic point of view, rendering it recognizable by constant compositional masterpieces throughout his entire work.131 The existence of a significant number of studies, articles, analyses, integrated in various journalistic contexts (magazines, lexicons, doctoral theses), concerning various aspects of Toduţă creation, has made it possible to outline even from the beginning a general picture of the composer’s style, a valuable starting point for deepening the research in the spirit of the chosen theme.