<abstract><title style='display:none'>Abstract</title> This paper examined the roles and factors of Aesthetics viz-a-viz those of modeling, styling and the product Brand (Branding) as viewed against their fundamental relevance as core ingredients for the actualization of any Design initiative and creative endeavour. These roles, influences and place of Aesthetics (and its allied components, makes up the very soul, content and essence of what the product is all about. Its Form, Shape, Morphological / physical attributes and characteristics. The paper established that the aesthetic components of beauty, colour, shape, (form) fonts, (lettering or typography) and all other general Aesthetic Ambience gives the given product the desired quality/beauty that it exudes to help determine its marketability / profitability as a Brand. The paper also reviewed the aspects /implications of these roles and influences on Design Education alongside highlighting the potentials of the Design Educator - learner experience, while exploiting the Teachers ability to effectively harmonise the various approaches and practices of a functional Design-led Educational programme viz-a-viz piloting such talents/skills achieved to practicable and useful ends as professionals in Design and Technology. The paper also seeks to establish that the roles and factors of modeling styling and Branding of the product which is best exemplified through the adaptation of Design inputs and features such as ornamentation, edge delineation, texture movement/flow of linear form, symmetry or Assymetry of shapes, colour, granularity (of matter/particles large or small) or coarseness, play of light (sunlight) and shade, transcendence (state of being or existence of a product beyond the limits of material experience) and that of total harmony. The paper recommends that for any product Brand to succeed it must incorporate all of the above components together with the inclusion of the other qualities that makes up the intangible content of the Brand such as, Brand Name, Logo, Tagline (catchphrase) the Graphics (elements of Design) Brand Shape, Brand colour, culminating in the establishment of what the Brand mission statement is about, its function, role or job it is intended to perform.</abstract>

8. Industrial Design: The Roles and Factors of Aesthetics, Modeling, Styling, Product Brand and Branding in Design/Design Education

<abstract><title style='display:none'>Abstract</title> 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.</abstract>

1. Emotional Development through Art Expressions

<abstract>
<title style='display:none'>Abstract</title>
This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).
</abstract>

New Media Art: Aligning Artistic Creativity And Technological Media

<abstract>
<title style='display:none'>Abstract</title>
In order to be able to reveal the constructive value and expressive force of Schubert’s piano sonatas, one needs first of all a good edition that rends as precisely as possible the author’s original text, as well the pianist’s skill to bring score to life, therefore managing to transpose in his interpretation the composer’s creative intentions, that are set by using the musical notation. We wish to highlight below some aspects of Schubert’s musical notation regarding dynamics and sonority, sound emitting manners (legato and staccato) and pedalling.
</abstract>

10. Summary of Some Aspects of Piano Interpretation in Schubert Sonatas, According to Musical Notation

<abstract><title style='display:none'>Abstract</title>Artistic talent has been defined in various contexts and registers a variety of meanings, more or less operational. From the perspective of pedagogical intervention, it is imperative understanding artistic talent trough the theoretical models of giftedness and talent. So, the aim of the study is to realize a review of the most popular of the theoretical models of giftedness and talent, with identification of the place of artistic talent and the new meanings that artistic talent has in each one. Research methodology requires a meticulous documentation and access to primary bibliographic sources. The investigation allowed us to notice that most of the models and theories of giftedness explain the phenomenon through its multidimensionality, and in this context the concept of talent is considered or component of giftedness (Feldhusen), or the concepts of giftedness and talent are discussed as synonymous (Tanenbaum, Renzulli, Heller), or the concepts of giftedness and talent are considered as distinct (Gagne). There are authors who approach the concept of giftedness without any mentioning of talent (Gardner, Sternberg). From the contribution of theoretical models of giftedness and talent to understanding of artistic talent we mention: Feldhusen describes the creative-artistic talent in the classification of the talents by their relationship with curriculum areas; Tanenbaum also carries a classification of talent by their contribution to society and considers the artists, the musicians, the actors and the writers as talents that beautifies the world, calling them “surplus talents”; Gagne, who discuss the phenomenon from the perspective of human skills development and who places the giftedness at the potentiality pole and the talent at the performance pole, includes the artistic talent on the list of various types of talents and explain the factors involved in its development; Heller, Ziggler provides explanations of talent development in the light of a new research in the field of expertise, and we can particularly apply to the artistic talent. The results of the present research are the starting point of a personal trail of understanding of artistic talent, indispensable for theoretical and/or applicative approaches of any researcher interested in the psycho-pedagogy of excellence.</abstract>

4. Valorizations of Theoretical Models of Giftedness and Talent in Defining of Artistic Talent

<abstract><title style='display:none'>Abstract</title> Art is one of the finest means of shaping the personality, of access to aesthetic and moral values of society. The paper presents some of the elements of communication through art, in the double sense of this process, from the artwork (creator) to the viewer, but also from the viewer to the work of art and creator. The key-element of this dual process is the empathy, the ability to feel the emotional states of others. It develops within a set of personality traits, including: emotional intelligence, emotional feelings diversity, cognitive skills, along with motivation and personal ideals. Art is a medium of communication but also an element of developing a general receptivity to the world and its authentic values.</abstract>

2. Empathy and Communication through Art

<abstract>
<title style='display:none'>Abstract</title>
Violin studies can be classified into two main types: psychoacoustic studies, which are based on the artistic perception of audibility by violinists and vibro-acoustic studies, which are based on the spectral analysis of the vibrations and sounds produced by the instruments. The paper presents the acoustic analysis of violins by means of specialized software, their main acoustic characteristics being extracted in the form of frequency spectrum, spectrograms, specific modes and number of harmonics. These results were compared with the results of the opinion poll among musicians regarding the acoustic qualities of violins, based on musical auditions. The results highlighted the fact that the acoustic analysis technique cannot detect in totality the psycho-acoustic effects of musical sounds, therefore the establishment of the acoustic quality of the instruments on objective foundations, since the personal touch of an instrumental artist aims at the approach and articulation of the musical discourse, in a complex manner, combined with the interpretation of forms and styles.
</abstract>

13. The Acoustic Analysis of Violins and the Artistic Impressions Evaluated by Musicians

<abstract>
<title style='display:none'>Abstract</title>
Music-related skills are not always an effect of systematic music education. Many music perception acquisitions develop naturally due to children’s exposure to melodic and rhythmical structures across their life. Experts found that even at very early stages of life, children are capable of identifying and differentiating musical structures. More so, they develop musical preferences closely related to certain biological features or certain emotional aspects regarding their relationship with their mother. The present study aims to review the latest findings associated to these musical skills that occur during the prenatal period and the first year of life.
</abstract>

1. Musical Abilities Very Early in Life

<abstract>
<title style='display:none'>Abstract</title>
The Frankfurt Declaration is a UNESCO document that reminds and re-emphasizes the importance of promoting and applying arts education to the curriculum of all member states. In 2019, the World Alliance for Arts Education (WAAE) organized an international conference called Arts Education for everybody? Every student? Everywhere? It opened a discussion on various topics about arts education (e.g., in society, in school reforms, opportunities for the education of pedagogues, interconnection with other fields, its application at different levels of schools, its future, possibilities to spread and communicate it in different countries of the world). The education through theatre also belongs to the field of arts education. The study reflects and maps the topic of formal and non-formal education through theater. It ponders the question What is the status of formal and non-formal education through theater nowadays? It points to interesting and inspiring projects, to institutions dedicated to the education through theatre, to the educational activities of professional cultural institutions, the position of drama education in the school system and beyond it, the education through theater at universities, as part of festivals, etc. It also brings an excursion into the education through theater in abroad, in the Czech Republic and Slovakia.
</abstract>

1. Formal and Non-Formal Education Through Theatre<xref ref-type="fn" rid="j_rae-2023-0015_fn_001">54</xref>

<abstract>
<title style='display:none'>Abstract</title>
There is always talk about the voice intended exclusively for a certain musical genre. There are singing teachers who systematically refuse to encourage young voices to discover other areas of sound from the perspective of vocal practice. For example, Classical Singing teachers approach the phrase “you can’t” or, worse, “you’re not allowed”, when a student studying Academic Singing wants to discover other musical genres such as Folk Singing, Light Music or Jazz. This obtuseness shown by some teachers leads to the premature inhibition of the singer’s vocal potential in the full period of accumulation, but, above all, leads to the narrowing of horizons and opportunities on the job market of Classical Singing graduates. Such practices should be challenged and dismantled through concrete examples where one and the same voice can interpret a diversity of musical genres, without in any way affecting the artistic act.
</abstract>

5. The Myth of the “Exclusivist” Voice - the Diversity of Sound Aspects. Case Study

<abstract>
<title style='display:none'>Abstract</title>
The role of parent is in itself one that provides both challenges and fulfilments. Moreover, it necessarily assumes the exercise of the pedagogical function. The main challenge is the delimitation between the position of a teacher and that of a parent, implicitly that of a student and that of a child. At the same time, the fulfillment that covers both the didactic process and the result, is the ultimate reward and also the motivation for starting another project. The present case study covers a period of approximately two years, involving the teacher-parent (mother) aged approximately 30 years and the student-child (girl) aged 5-7 years. The three completed or ongoing projects aim, on the one hand, at learning the basics of piano and ukulele performance and, on the other hand, at the vocal performance of a pop piece in a festival-competition.
</abstract>

7. Musical Education in the Family. Challenges and Fulfillments in the Parent-Teacher Role

<abstract>
<title style='display:none'>Abstract</title>
Performance in the artistic career is achieved through a continuous process of learning, education and study, supported and enhanced by an unseen, unnoticed, even often ignored factor like sport. Through this study we can demonstrate that the practice of intense specific type of physical exercises or individual sports can influence and support performance in the visual arts field. Our study we have been carrying out in the past 2 years for a number of 350 student artists who practised a type of sport or a physical activity, including physical education courses in their university curriculum, shows that they experienced better artistic performance in a percentage of 60% compared to those students who practiced less physical exercises. It is well known that training, in a variety of forms, allows increasing the mass of specific group of muscles, but also increasing endurance for longer periods of time. Also, regular physical activity causes an increase in the vascular caliber, which will lead to better oxygenation and a better nutrient supply to the brain. The brain is the most glucose-demanding organ in the body and, at the same time, it functions only in aerobic metabolism. Thus, the increase of vascular caliber through regular sports will determine an increased intracranial pressure, respectively a higher oxygen and glucose consumption. Constant practice of physical exercises will significantly reduce the risk of mental illnesses, and will improve memory, by preventing a series of brain disorders.
</abstract>

2. Performance in the Artistic Career Supported by the Practice of Intense Physical Exercises

<abstract><title style='display:none'>Abstract</title>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.</abstract>

6. Variables and Constants in the Curriculum for the Music Specialisations of the Romanian University Education

<abstract><title style='display:none'>Abstract</title> Students and Teachers are an epic symbiosis in process of direct learning and academic advancement. Nowadays, this interaction is more bonded and interdependent with technology and equipment‟s, which in a whole system expands learning horizons. The digital era has introduced in the education system new modes of learning, a new way of life and style in schooling. This phenomenon changed the methods of teaching in universities, where lectures were accompanied with concrete explanations of works in modeling, in structural and conceptual sense. The relationship between a student of architecture and teachers broadened with introduction of computer aided modeling and simulation tools to construct those ideas into the reality. The study presented in this paper investigates conceptual methods in art, architecture, creativity and innovation in academic education, focusing on interactive teaching issues, and methods. The research methods consist of empirical observation carried out during 25 years of experience in academia, and direct observation of teaching methods. The purpose of this paper is to examine the evolutive process in teaching relations between architectural students and teachers, with the focus in educational competencies and communication skills. Findings indicate that through artistic concepts of “Modelarium” as an unconventional learning space, a tool and space that enables the partnership. An informal meeting place for artistic interaction, but, concurrently it is a formal part of the educational system in architectural studies, a strategy by which we can bring more: time, conceptual awareness of space and interactive teaching in architecture, which bonds multidimensional threads between students and teachers; thus, fostering a powerful sense of partnership, avoiding boredom and passive learning, while facing the challenges, associated with the development of technology, life style, real issues and global world trends. Research suggests that uniform and/or partially new strategy, cannot respond to all specific issues faced by students in day to day basis. Therefore, new teaching strategies must involve new partnerships, a brand new and a redefined role as a holistic symbiosis, as an response to a less functional and/or conventional academic system. Partnership, a new working symbiosis between students and teachers is an answer to the needs of working together simultaneously towards continuous improvement of academia processes.</abstract>

2. The Concept of “Modelarium” and its Impact on Creativity And Artistic Education

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