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 Romanian academic system must adapt to the changing demands imposed by the European educational standards, according to the conventions of Bologna and Lisbon. The compatibilisation of university paths in creating the curricula must consider the competences which are to be acquired. The responsibility belongs equally to the institutions providing academic programs, but also to the Romanian Agency for Quality Assurance in Higher Education. We intend to analyse comparatively both the constant and variable elements of the academic programs for the Music field. The efficiency of these programs is particularly reflected from the point of view of insertion in the labour market, so the direct beneficiaries are the graduate students.
1. BABII, V. (2005). Efficiency in Musical-Artistic Education. Kishinev: Elena.V.I.
2. BABII, V., BULARGA, T. (2016). Innovative-Artistic Praxeology. Iasi: Artes.
3. BABII, V. Development of Pupils’ Creative Skills// Soviet Educator, 1984, No. 12, p. 30-34
4. BABII, V. Creation Activities in Music Class 4-5th Grades // Methodic recommendations. Computing center of Bălţi, 1986, 32 p.
5. BABII, V. Training Independent Work Skills// Soviet Educator, 1987, No. 2, p. 50
Between the age of six and eleven, children easily express themselves through drawing. After this age, there is a blockage due to the development of critical thinking. If during the 6 - 11 age stage children draw using symbol schemes, reporting what they remember and what they understood from what they saw, after the age of 10-11 (secondary phase) children want to draw what they see and thus they face challenges related to technical means and language specific for arts. In this regard, a mediation is necessary between the technical means and the artwork or reproductions of fine art (either in albums, or displayed on a screen) using guided questions. This process, that over the years of teaching proved its efficiency, contributes to the development of students’ imagination and creativity, and to the formation of a useful general culture.
This article introduces the problems that could emerge when undertaking to organize a children symphony orchestra, but also the means of surmounting them. The stress falls on the difficult mission of establishing the specific hierarchy (part master, placement on desks, choosing the concert-maestro), action that proves to be extremely delicate taking into consideration the age category we refer to. Moreover, we pursue the indication of the stages that should be taken into account in order to obtain an independent, functional and adaptable ensemble, given the limited time period until the public show. After choosing the members of the hard core of the ensemble, it is recommended that the master shall empower and present the tasks that one must meet. Thus, the qualities that the chosen children should take into consideration for the purpose of avoiding certain stressed moment or certain syncopes for the optimal operation of the orchestra are presented. Once the premises for a good operation have the created, the professor can transfer certain tasks to the students (tuning, settling the bows, part study, etc.) having as an effect the efficiency of going through the programme under the conditions of a deadline which cannot be exceeded. Furthermore, several recommendations regarding the psychological training of the children for the purpose of surmounting the stress factor specific to any public interpretation are presented.
Aesthetic education forms and develops a mental quality of the individual, namely, general receptivity to the world and life. It can be said, however, that aesthetic education includes a multiplicity of meanings, formative and educative in relation to personality. All this has a profound echo in the whole personality, whether at the emotional or behavioral level. Art touches and contributes to creating prints from which the later emotional pleasure, taste, artistic judgment and discernment on human values will develop. Emotion refers not only to the aesthetics but involves more often, ethics, behavioral preferences in choosing one or another conduct. Emotions enrich the register of artistic self-expression and complements the temperamental and the character profile of a person. Here we analyze these relevant issues in an experiment conducted at the “Elena Cuza” Primary School of Iasi, Romania. We also present the conclusions of Art Intervention in school for these students. Art intervention in school can become an affective-emotional aim in educator-student relationship and may have important, long term evolutionary consequences, referring to the achievement of personal ideals and efficiency of educational activity.
IMMTA – integrality model of musical and teaching activities;
MTA – musical and teaching activities.
1. Babii, Vl. (2005). Efficiency of Musical-Artistic Education , Chişinău: Elena-VI Publishing House
2. Bularga, T. (2008). Psycho Pedagogy of Interest towards Music . Bălţi: Bălţi University Press
3 Cosumov, M. (2012). Homework in Musical Education as an Element of Curriculum . [PhD thesis]. ped. Chişinău
4. Crisciuc, V. (2013). Specifics of teaching music knowledge (within Music Education