The paper analyzes paradigms that highlight the role of active teaching and active learning methods in developing the skills for the professional and social life of the students. The first chapter of the paper argues the need to develop social and creative abilities that lead students to competence in design thinking. Successful response of the student to the demands of professional and social life requires skills like empathy, assertiveness, cooperation, problem solving, implementation of innovative solutions. Ability of design thinking involves a divergent thinking, ability to autonomously design their own strategies in relation to personal development needs, self-assertion and prosocial project development. The training of these skills is possible if the educational environment is one that offers stimulating techniques, adequately prepared human resources, social training contexts. Interactive teaching enables the student to act independently, to be capable of self-management and personal development. The proactive creativity of teachers facilitates active learning methods which will lead to students developing empathy, assertiveness and competence in design thinking.
In the music higher education, the appearance of a concept of incompatibility between the performance practice and the studentsʼ theoretical and analytical training is a phenomenon with multiple consequences on their training, on the way of organizing a curriculum and a hierarchical deformed attitude on the different subjects in the curriculum.This study summarizes some of the arguments that emphasize the role played by the study of the Music Analysis in developing the musicianʼs ability to understand music from the perspective of the compositional conception, to discover its importance as a stage in the formation of an original performance concept while highlighting the advantages of a collaborative approach between the two areas of training of the musician.
The article describes conceptual aspects related to the artistic tendencies in preschool education.The realization of this process is presented by operating with the concepts of the famous occidental, Russian and local scientists. One of the ideas characteristic to the scientists’ pedagogical thinking is that in the process of formation/development of the child through arts, the child is submitting the objects and phenomena to his/her previously acquired assimilation schemes. To insure integrity in the practical way of the early education, the methodology we are proposingis based on a research, a significant theoretical network ofsuccessful pedagogical practicesof word known scientists. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as-truthful-as-possible preschool educationof the child.Early education is the most important period in one’s life through the sustainable consequences it has on his/her ultimate development.
A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.
The modernization of higher education in the field of plastic arts methodology, the improvement and development of the educational methodology, as well as the professional rise of the teachers are the key issues in raising the level of creativity of the future plastic art teachers in the context of the new requirements of artistic training. The volume of creative knowledge and skills varies from one person to another; it is our permanent intention to know and understand creativity, to demonstrate the laws of artistic and plastic creativity, to create a logical theory through which personality can be developed creatively, thus contributing to the complex process of the student’s artistic activity. Art contributes to the development of the artistic creativity of pupils / students, constituting a source of knowledge of national and universal culture through the many methodological, plastic and technological varieties specific to art, which offer vast possibilities to create a creative product of artistic, aesthetic and cultural value. The development of creative writing skills initially involves a visual experience, followed by the stages specific to the creative process in the field of fine arts and is finalized by a material form of the creative product, obtained through specific means in the field of fine arts.
The present article aims to analyze the impact of artistic and educational projects from the perspective of non-formal education. This will be done with the help of a case study that brings forth the aforementioned elements in order to improve the educational standards of the students that participate in these projects. Also, here will be detailed the specific objectives of the projects in this category and the impact imprinted on the target groups as well as the implementation manners of the objectives themselves, by following the factors that stimulate creativity and the degree of young people involvement in this project.
Man is the only being that lives in the world not only biologically, but also spiritually, essentially due to education, which is permanent, continuous, omnipresent and creates values. Lifelong education represents an organizational and philosophic principle which requires that lifelong education throughout a person’s existence determines each individual to develop his/her personality with the help of a complex system of means, which must meet his/her educational and cultural needs and ambitions. Art is the fundamental dimension of education that uses in the development of personality the educational potential of the aesthetic, social and natural beauty.
At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
In efforts to design the implementation process of innovative artistic praxeology we emerged from the assumption that TDA (teacher’s didactic action) and PAA (pupil artistic action) become fundamental values of the integration of theory and praxeology in perspective of an effective education, provided that they be widely used both horizontally and vertically, according to the pentagonal model consisting of principles: proactivity, artistic intro-opening, creation/creativity, of success, re-conceptualizing and instrumented in modern theoretical and methodological perspectives. 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.
The Cherubic Hymn (gr.) o heroubikos ymnos) was introduced in the Byzantine Liturgy in the 5th century, by a decree of Emperor Justin the 2nd, issued in 574. The document stated the replacement of an old psalm, once sang during the offering of bread and wine gifts at the altar by the church-goers (ofertorium), with the new hymn. The replacement of the ofertoriumului ritual with the one of Presentation of the Euharistic Gifts (the Great Exodus) and the introduction of associated memorials, determined the fragmentation of the hymn in two different parts. Initially sang monodically, the introduction of the art of chorale in the Orthodox Church determined the development of this liturgical singing in two parts with a different musical nature, based on the principle of contrast: Cherubic, in large tempo (Adagio) and That we may receive the King in moderate tempo (Moderato). The first induces an atmosphere of mystical chastity, leads to introversion, and the second is a glory hymn, imposing and majestic. Literary, The Cherubic consists of the following three sentences, which determined the subsequent form of homonym choral creations,
We, who mystically represent the Cherubim,/
And chant the thrice-holy hymn to the Life-giving Trinity.
Let us set aside the cares of life,
Followed by another two sentences and the threefold repetition of the ovation “Hallelujah!”, which form the second hymn:
That we may receive the King of all!
Who comes invisibly escorted by the Divine Hosts!
Hallelujah, Hallelujah, Hallelujah!
In the Romanian liturgical chorale creation the Cherubic hymn bears the following stylistic directions: 1. of Slavic influence; 2. of Classical-Romantic inspiration; 3. which capitalizes the Byzantine church singing.