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The Variational Principle in Dinu Lipatti’s Sonatina for Violin and Piano

Abstract

This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variations as a component of the sonata genre dedicated to the violin-piano duo, as it appears in the works of composers such as Mozart or Beethoven, as a method of analytical research, highlights the language aspects that condition the performer’s vision in the case of Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of virtuosity or timbre, whose valences are distinct from those determined by a music discourse from the classical era. Understanding the correlation between the succession of movements and the composition of the variational plan constitutes a priority in approaching this work and shaping the desired artistic message; this is why the study attempts to highlight the necessary connection between the structural elements of the composition and those implicitly generated by them, namely the technical and expressive elements required by the interpretative act.

Open access
The Problematization of The Triad Style-Genrelanguage in The Didactic Approach of The Discipline The History of Music

Abstract

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.

Open access
Methods of Individual Creativity Stimulation

Abstract

Creativity is one of the specific human traits. The development of personality is most often realized in close correlation with the creative dynamics of each one. The paper proposed by us brings into discussion the most important factors that contribute to the development of creativity. What makes us more creative, what are the conditions that unleash the creative forces of the individual’s mind? First, the cultural factors, inherited ideas about creativity, are critically analyzed. Thus, there are a number of “myths of creativity” that infuse our perception (sometimes in a wrong way) on the definition and understanding of creativity. The family also offers, through education and personal example, means of stimulating creativity. It is the first step towards performance creativity. In this paper, we also present the best-known techniques of creativity training, some of them, in the view of the “new age” trend. Creativity always interferes with a task, as we have to improvise, responding for moment to moment to the changing demands of the situation. Daily creativity improvise and is therefore, different from what the researchers of creativity have studied: creativity that results in a finished product. In order to become more creative, we will have to orient ourselves differently: to have a motivation for it, to choose a field in which we excel, to accept collaboration, to be confident and take risks. Creativity means rejecting the conventional, the routine and finding new solutions in personal development.

Open access