The approach to music styles entails an in-depth musicological analysis aimed at synthesizing numerous bibliographical sources belonging to different fields and directions of research. A chronological overview of studies (Jean Molino, Fait musical et sémiologie de la musique, 1975; Jean Jaques Nattiez, Quelques reflexions du style, 1993; R. J. Pascall, Style, in The New Grove Dictionary of Music and Musicians, 1994; Jean Jaques Nattiez, La musique de l’avenir, in Musique. Une Encyclopédie pour le XXI siècle, 2003; Mario Baroni, Stil şi mutaţii stilistice în tradiţia muzicală europeană, in Musique Une encyclopédie pour le XXI siècle, 2006) and of universal (Leonard Meyer, Explaining Music, 1973; Charles Rosen, Le style classique: Haydn. Mozart, Beethoven, 1978; Leonard B. Meyer, Style and Music. Theory, History and Ideology, 1989; and Romanian specialised literature (Cornel Ţăranu, Elemente de stilistică muzicală (sec. XX), 1981; Edgar Papu, Despre stiluri, 1986; Valentina Sandu-Dediu, Alegeri Atitudini Afecte, 2010; Vasile Iliuţ, O carte a stilurilor muzicale, 2011; Valentin Timaru, Stilistică muzicală, 2014) from the late 20th century and the beginning of the 21st century, reveal the different and, more often than not, contrasting views of historians, analysts, aestheticians, philosophers, scholars and educators, starting from the meaning of the very idea of style, to the reception of this phenomenon in contemporaneity. On these grounds, this study proposes a systematization of the most relevant landmarks in documentation to date, for the purpose of applying them from a didactic perspective.
The educational programs dedicated to gifted and talented people are developed or must be developed starting with an adhesion to a definition of the working concept, in this case „giftedness” or „talent”. A foray into the literature proves that the meaning of the concept of giftedness has developed over time, as influenced by various factors such as historical (history of the research) and of human nature (psychological or educational). The aim of the paper is to make a review of the associated key moments in the evolution of the concept of giftedness. The bibliographical sources allowed us to achieve a chronological overview of the position/attitude of the most prestigious researchers in the field, who tried to explain the concept of giftedness and talent. The collected data demonstrates that there is no unanimous acceptance of a single definition until today, and that the concept keeps its tendency to perpetual transformation. The constant during this time remains its relationship with the demonstrated, respectively with the potential performance.
In this text, I describe a specific way of addressing the past in video games which are set in historical times but at the same time deliberately undermine the facticity of their virtual worlds. By grounding my argument in analyses of two blockbuster productions—Assassin’s Creed (Ubisoft, 2007) and Call of Duty: Black Ops (Activision, 2010)—I introduce and define the notion of “simulational realism”. Both games belong to best-selling franchises and share an interesting set of features: they relate to historical places, events, and figures, establish counter-factual narratives based around conspiracy theories, and—most importantly—display many formal similarities. Like most AAA games, Assassin’s Creed and Black Ops intend to immerse the player in the virtual reality and, for this purpose, they naturalize their interfaces as integral elements of reality. However, in the process of naturalizing simulation, objectivity of the past becomes unthinkable.
In my considerations, I situate this problem in two contexts: 1) of a cultural and epistemic shift in perceiving reality which was influenced by dissemination of digital technologies; 2) Vilém Flusser’s prognosis on the effects of computation on human knowledge. According to Flusser’s theory of communication, history—as a specific kind of human knowledge—emerged out of writing that was always linear and referential. Consequently, the crisis of literary culture resulted in the emergence of new aesthetics and forms of representations which—given their digital origin—dictate new ways of understanding reality. As history is now being substituted by timeless post-history, aesthetic conventions of realism are also transformed and replaced by digital equivalents.
Following Flusser’s theory, I assert that we should reflect on the epistemological consequences of presenting the past as simulation, especially if we consider the belief shared by many players that games like Assassin’s Creed can be great tools for learning history. I find such statements problematic, if we consider that the historical discourse, grounded on fact, is completely incompatible with the aesthetics of sim-realism which evokes no illusion of objective reality.
We present the application of dendrochronological dating of the renovation and construction works of churches in the Kaunas and Vilnius regions of Lithuania. The model for the estimation of the missing rings of Scots pine was used in Lithuania for the first time. We have assessed 18 timber cross-sections from nine churches, which were used for the constructions from the second half of the 17th to 19th c. The oldest wood samples were dated from St. Michael’s Church in Vilnius (1668±4) and St. George, the Martyr, (Bernardine) Church in Kaunas (1693±3). The aim of this study was to compare the results of the investigation of timber samples from 9 churches with archival sources and literature data and to reveal the renovation history of the buildings. The study of written historical sources has revealed a lack of recorded building and reconstruction phases of the churches. This fact was later confirmed by the results of dendrochronological dating. The dating of the timber revealed undocumented reconstruction dates in Zapyškis church (1791±3), St. George, the Martyr, (Bernardine) Church in Kaunas (1711±4), St. Anne Church in Skaruliai (1693±3) and Vilnius Cathedral (1814±4).
The article explores how a number of artists have employed the counter/actual as a form of past-talk in a conscious intervention into socio-political and ethical issues arising from the Israeli occupation of Palestine. I argue that such uses of the counter/actual more effectively foreground the injustices arising from the occupation while not only problematising the process of representation but also deconstructing the ways in which histories are intimately intertwined with relations of power and practises of legitimisation; they do not simply reproduce “the (f)actual” but work to repossess the past from the dominance of hegemonic interests.