Browse

1 - 10 of 187 items :

  • Arts, general x
  • Specialist Studies in Education x
Clear All

Abstract

The present study will only refer to the Early Hallstatt, Ha A-B, the beginning of the first Iron Age brought important transformations recorded in ceramics, once the production forces started to develop because of the spreading of iron metallurgy. In a time when ceramics suffers major transformations regarding forms and decor – we are talking here about the first period of Hallstatt (the early one) – the Hallstatt Complex with incised and engraved ceramics completes the image of pottery at that time, together with the other great cultural unity (the horizon with fluted ceramics).

Abstract

By this study we propose to expose the steps that led to the development of the choreographic adagio. Without excluding the importance of the precursory period, the approach of the discourse introduces us into the middle of the 18th century, exactly in the age when this miracle of dancing began to assume clear contours. We remind of the entrées full of effects with high elevations of Auguste Vestris, the expressivity of Marie Salle, the Noverian manifesto certainly the pas de deux formula - which is used even nowadays - of Marius Petipa. The transformations of the subjects - from the mythology to the eternal theme of love - are completed by the different states of the danced dialogue. The deciphering of the symbols founding its gesticulation and explains the step or the choreographic element is visible through the scene of the balcony of ballet Romeo and Juliet by Prokofiev and by the meeting between Spartacus and Flavia in the ballet of Avram Haciaturian. The state of poetry, of dreaming, noble rise of the soul towards unsuspected horizons, the adagio, confesses to us its filiation even beyond the border of the age. We consider that this paper is useful both for the teaching staff who must instruct the youngsters in vocational schools a profound and qualitative choreographic culture, and to those who are training in the art of dance.

Abstract

The concept of communication is a notorious one but at the same time, difficult to define precisely. However, many researchers recognize a number of attributes as easy to define and interpret. In this paper we will carry out a detailed analysis of each of these components of the basic model of communication (Hargie, O., Dickson, D. 2004, Dickson, 2001, Hargie and Tourish, 1999, Dickson et al., 1997). Interpersonal communication is a transactional, intentional, multidimensional, irreversible and (possibly) inevitable process. It is strictly determined by factors such as the situational context of the person, cognitive, affective or temporal elements. The participants in the communication carry and reflect the whole personal “baggage”, of which the accumulated knowledge and experiences, motives, interests, values, emotions, attitudes, expectations and personal dispositions are part. To these are added the self-image, the beliefs about one’s own abilities to succeed (self-efficacy). All these elements will determine the kind of meetings planned, the objectives selected, the persistence in achieving them, as well as the anticipation of possible rewards. Effective interpersonal involvement can be interpreted in terms of concepts such as: person-context, goals, mediation processes, responses, feedback and perception. We can think of spatial, temporal, relational and sometimes organizational frameworks in which the communication process is incorporated. The personal characteristics of the participants, together with the specifics of the situation, act to model the interaction. Also, the objectives pursued are determined by personal and situational factors. The plans and strategies for their realization come from the mediation processes and the strategy adopted accordingly, is reflected in the manifested answers, in behavioral and decision choices.

Abstract

The work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.

Abstract

The endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.

Abstract

The criteria recommended for the performance of internal assessment are the ones included in the national model for school inspection applied by the inspectors in the school inspectorate or the Ministry of Education (with subsequent names) who carry out internal assessments. Educational establishments can also decide on certain additional criteria - in line with the specific needs. All educational establishments must perform the annual assessment of activity, regarding school development, educational programs, curricular and extracurricular activities, quality of the teaching-learning process, human resources development, relations with the community and European dimension in the education offered. A tricky problem is represented by the specific assessment of Children Centres and Clubs that carry out non-formal activity, without school programs and handbooks approved by the Ministry of Education. Carrying out an analysis of the manner of assessing formal and non-formal educational units, the need to readjust the internal and external assessment was identified. At the level of school inspectorates, school inspection is carried out by a team consisting of specialised inspectors who know the specificity of those educational units. The main problem is represented by the external assessment carried out by ARACIP with the help of standard specific means: fields, indicators, reference descriptors and specific descriptors. Through the study performed, a series of proposals on the beneficial amendments for the quality assessment within Children Centres and Clubs is identified.

Abstract

The criteria recommended for the performance of internal assessment are the ones included in the national model for school inspection applied by the inspectors in the school inspectorate or the Ministry of Education (with subsequent names) who carry out internal assessments. Educational establishments can also decide on certain additional criteria - in line with the specific needs. All educational establishments must perform the annual assessment of activity, regarding school development, educational programs, curricular and extracurricular activities, quality of the teaching-learning process, human resources development, relations with the community and European dimension in the education offered. A tricky problem is represented by the specific assessment of Children Centres and Clubs that carry out non-formal activity, without school programs and handbooks approved by the Ministry of Education. Carrying out an analysis of the manner of assessing formal and non-formal educational units, the need to readjust the internal and external assessment was identified. At the level of school inspectorates, school inspection is carried out by a team consisting of specialised inspectors who know the specificity of those educational units. The main problem is represented by the external assessment carried out by ARACIP with the help of standard specific means: fields, indicators, reference descriptors and specific descriptors. Through the study performed, a series of proposals on the beneficial amendments for the quality assessment within Children Centres and Clubs is identified.

Abstract

In a world of spectacle in which everything seems to have already been told, the vocal-chamber music recital is found in an identity crisis. The economic, social and cultural context in which it takes place is labile and determines the performers to ask themselves what is their position within the sctructures in which they function/operate. The purpose of the research is to identify and reevaluate links, configurations, structures and elements of a type of an aparently morally obsolet musical performance and marked by the passage of time. The originality of the thesis spans from its interdisciplinary character and from its multifaceted approach of the performative phenomenon.

Abstract

Choral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.

Abstract

The development of empathy is directly depended on the possibility of knowing the roles, establishing relationships, feeling emotions in different social situations. The functions of empathy allow an effective communication between teachers and students, strengthening mutual trust by analyzing their actions in the process of discussion. However, all these noted, can be achieved in the process of communication between the speaker and the listener, the teacher and the student. Empathy is characteristic to teachers who are able to think about their friend, not to be selfish. Empathetic teachers can feel what others feel, identify their emotions, help others to solve problems and imagine themselves in someone’s situation. Empathetic teachers try to be in somebody’s coat and realize what students would feel in certain situations. Empathy can be felt all the time and it’s necessary to modern people, because everybody needs to accept himself and to respect others.