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Open access

Tatiana Bularga

Abstract

Modern education, especially the artistic one, has a stringent need of an innovative praxeology, which, unlike the receptive praxeology, does not take over the rough theoretical and methodological approaches, but obliges the practitioner to gather from the available sources only the ideas of perceived essences, so that later to come before pupils with new actional options. Such a praxeology becomes more than just a practical act, because it puts the teacher in the role of interim manager function between theory and practice. In this hypostasis, the practitioner fully corresponds to praxeologic rigors, which are reduced to the specifics of the logistic design and achievement of artistic action.

Open access

Marinela Rusu

Abstract

Creativity is a complex process that invites to action, both the conscious and the unconscious mind. The work proposed by us puts into question a new aspect of the process of creativity: finding and solving problems, inserting the cognitive and ideational elements into the artistic creative process. Artistic personality represents a complex interaction between diverse psychological factors: intellectual (lateral, creative-thinking and convergent thinking) and nonintellectual factors (temperament, character, motivation, affectivity, abyssal factors, special aptitudes). To these are added also, the biological factors (heredity, age, gender, mental health) and social factors (economical condition, historical epoch, socio-cultural conditions). In the same time, the artist's success also appears to be linked to his ability to find and solve new problems in artistic themes, to his ability to correctly formulate questions, and then to find original, genuine answers. This paper explains the link between the multitude of solved problems and the artistic success.

Open access

Cristina Simionescu

Abstract

I Puritani is the masterpiece that crowned the creation of the Italian composer Vincenzo Bellini, being remarked and appreciated for the richness of his melodicity and profound symbols filled with the inspiration and creativity of a creator. This was the last of the ten works composed by Bellini, whose disappearance was premature, at only 33 years, but the passion and talent with which he created revealed a work dominated by essence and emotion, which establishes a close connection between chant and the poetic text, providing new expressive valences to the lyrical universe. The extremely difficult and demanding vocal writing raises serious challanges, the Bel-canto style meaning not only a “beautiful chant” but also a difficult texture, a certain specific phrasing and a spread of spectacular acute tones.

Open access

Gabriela Vlahopol

Abstract

The concept of Collaborative Teaching is one of the innovative approaches to learning, which has changed the view of traditional teaching methods by involving two or more teachers in training a single group. The process involves a variety of flexible teaching methods that meet the learning needs of all students, while developing their communication, collaboration, critical thinking and creativity skills. Artistic education in the university environment contains two main biases, theoretical and practical (performance), which are divergent in the way of manifestation and collaboration between teachers. The applicability of the concept of Co-Teaching in performance is relatively intuitive, with a sporadic concretisation and no visible results in students' evolution. As regards the theoretical part of the musicians, the collaboration in the teaching process could be an important tool for correlating the information obtained at different disciplines in different fields (harmony, counterpoint, music history, folklore, aesthetics, stylistics, music theory, music analysis, etc.), but also to actively acknowledge the importance of a complex vision on the formation of a complete musician.

Open access

Loredana Viorica Iațeșen

Abstract

By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.

Open access

Ana Glebov

Abstract

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.

Open access

Margarita Tetelea

Abstract

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.

Open access

Cristina Todi

Abstract

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.

Open access

Anca-Mihaela Ciofu

Abstract

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.

Open access

Luminiţa Duţică

Abstract

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.