Journal Code: Review of Artistic Education
Issue Information: DOI: 105151/rae-2017-0001-0016
Volume 1 / number 13 / Year 2017
Cover Date (month and year): 03.2017
PART I MUSIC
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 01_paper.pdf
1. Title: THE LAWS OF MUSICAL ART AS A RESOURCE FOR THE EARLY EDUCATION METHODOLOGY
Author(s): Marina Morari
Affiliation(s): Associate Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The supreme function of music in the preschool institution is the educational one. As the development of the child depends on some physiological, psychological, socio-cultural and spiritual laws, so the musical art laws do with the methodology of the musical art process. In this article are characterized some laws through which is revealed the sounding, temporal, imagistic and expressive character of the music. The knowledge of the musical art laws determines the conformation to the specific to musical activities methodology; contributes to the generation/ development of the art consumer; facilitates the generation/development of the artistic abilities of the pre-schoolers/ parents; provides the adequate integration of art in the educative act of the pre-schooler; stimulates the interest and positive attitude for art. Under the peculiarities of the musical art laws there are built the ethodological suggestions for the early education.
Key words: musical art laws, the eternity of music, the image of music, the expressiveness of music, musical education
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 02_paper.pdf
2. Title: SYSTEMATICAL APPROACH OF INTEGRALITY OF MUSICAL DIDACTICAL ACTIVITY THROUGH THE DRAMATURGY AT MUSICAL EDUCATION LESSON
Author(s): Marina Caliga
Affiliation(s): Lecturer, Doctoral Candidate, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The integrality of musical-didactical activities at the lesson as a systematical aproach of the musical education process is the problem that we search for. In this way, dramaturgy at the lesson is searched as one of the principles of this integrity. The words “project”, “diagram”, “scenario”, “libretto” of the lesson are described in this study through two aspects: emotional dramaturgy and reasonable dramaturgy. These are the most important purpose of the personal attitude and activity. Through what mechanisms the dramaturgy is obtained at the lesson? How the emotional tones lead to the culmination? How are integrated the words dramaturgy and systematization? All these questions are studied in this article. In this way, dramaturgy at the lesson is the mechanism that integrates the system.
Key words: integrality of the musical didactic activity, systematical approach, the dramaturgy at the lesson
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 03_paper.pdf
3. Title: MAD SCENES: A WARNING AGAINST OVERWHELMING PASSIONS
Author(s): Rossella Marisi
Affiliation(s): Assistant PhD., Accademia di Belle Arti from Bologna, Italy
Abstract: This study focuses on mad scenes in poetry and musical theatre, stressing that, according to Aristotle‟s theory on catharsis and the Affektenlehre, they had a pedagogical role on the audience. Some mad scenes by J.S. Bach, Handel and Mozart are briefly analyzed, highlighting their most relevant textual and musical characteristics.
Key words: Affektenlehre, Austro-German composers of the eighteenth century, catharsis,hallucinations, rage
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 04_paper.pdf
4. Title: PROMOTING DEVELOPMENT AND CHANGE: CIVIL DISOBEDIENCE IN THE LEGAL-POLITICAL THINKING AND THE MUSICAL FIELD
Author(s): Flavia Marisi
Affiliation(s): Doctoral Candidate, Ghent University from Ghent, Belgium and LLM, Chinese University from Hong Kong, China
Abstract: A public, non-violent act not abiding by a recognized rule, and conscientiously done with the intent to frustrate the latter, is called an act of civil disobedience. Those who practice civil disobedience reject a specific rule, considering it unfitting with their own ethical, religious, or artistic values, and are prepared to suffer the indignities which may greet their act. The paper offers a comparative view on civil disobedience in the legal-political and the musical field, basing on the conceptualizations by philosophers and legal thinkers as Thoreau, Bedau, Rawls and Dworkin, and briefly analyzing some works by Monteverdi, Mozart and Liszt as examples of civil disobedience.
Key words: Artistic values, composition rules, ethical values, law, music theory
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 05_paper.pdf
5. Title: TRANSDISCIPLINARY DIMENSIONS OF MUSIC EDUCATION: TERMINOLOGICAL AND CONCEPTUAL APPROACHES
Author(s): Viorica Crisciuc; Marina Cosumov
Affiliation(s): Associate Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia; Associate Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: Complex and integrated nature of issues such as globalization, migration, interculturalism, environmental protection, information explosion, claims a transdisciplinary approach to education and music education. To cope with changes characteristic of the contemporary world, students need as generic skills: the ability to learn how to learn, ability and problem-solving assessment. Transdisciplinarity - involves such issues often highly complex, using tools and rules specific to certain science investigations using concepts of these sciences, but in other contexts. Students are interested in concrete problems faced in everyday life and looking for more of these explanations and practical solutions. To identify issues related to cross-disciplinary dimension of music education concepts will investigate disciplinary, multidisciplinary, interdisciplinary are four arrows of a single bow: knowledge.
Key words: transdisciplinary, lifelong education, skills transdisciplinary musical education
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 06_paper.pdf
6. Title: REQUIEM BY KARL JENKINS. AN ANALYTICAL APPROACH TO THE INTERWEAVING OF VARIOUS TRADITIONS IN MUSIC
Author(s): Loredana Viorica Iațeșen
Affiliation(s): Associate Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia; Associate Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.
Key words: Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 07_paper.pdf
7. Title: GROUNDS OF ABSOLUTE PITCH DEVELOPMENT IN YAMAHA MUSIC SCHOOL
Author(s): Dorina Iușcă
Affiliation(s): Lecturer PhD., “George Enescu” University of Arts, Iași, Romania
Abstract: Absolute pitch is defined as the ability to identify the pitch class of a certain given sound without the aid of an external reference pitch (Takeuchi & Hulse, 1993; Deutsch, 2002). The incidence of absolute pitch is extremely rare among the general population, respectively 1 in 10.000 people and it depends on testing conditions such as the number of identified sounds, pitch Chroma, pitch height, timbre, register or requested reaction time, and also on subjects musical training commencing and Eastern-Asian origins. The way absolute pitch develops is described by three models: the tone language theory, the early training theory and the genetic theory. The early training theory states that absolute pitch appears due to the beginning of musical lessons during a critical development period situated before the age of 6. The educational implications of this theory are revealed in the principles and activities of Yamaha Music School which employs didactic strategies that naturally develop absolute pitch. Yamaha Music School is the largest private music education system from Japan, established by Torakusu Yamaha in 1954. Up to this day it has extended in 40 countries from Europe, Asia and the American continents, as it has about 710 million students and 30.000 teachers. The present study aims to illustrate a detailed analysis of the way the learning experiences offered by Yamaha School lead to the development of absolute pitch.
Key words: absolute pitch, Yamaha Music School, early training theory
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 08_paper.pdf
8. Title: THE DEVELOPMENT OF MUSIC-PEDAGOGICAL EDUCATION OF UKRAINE IN THE 60'S –70-IES OF THE XX CENTURY
Author(s): Vladimir Cherkasov
Affiliation(s): Professor PhD., „Volodymyr Vynnychenko” State Pedagogical University from Kirovohrad, Ukraine
Abstract: The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's –70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.
Key words: musical-pedagogical education, musical-pedagogical faculties of, training of teachers of music and singing, organization of the educational process
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 09_paper.pdf
9. Title: A RESEARCH OF THE MUSICAL EDUCATION AT GEORGE BREAZUL AND DMITRI BORISOVICH KABALEVSKI
Author(s): Eugenia Maria Paşca
Affiliation(s): Profesor PhD., “George Enescu” National University of Arts from Iaşi
Abstract: The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.
Key words: musical education, listening (audition), playing music, song, acoustic universe
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 10_paper.pdf
10. Title: COMMUNICATIONAL ENTROPY IN THE PRESENT’S CRISIS – MEDIATION AND COMMUNITY ACTION THROUGH MUSIC MANAGEMENT
Author(s): Oana Balan
Affiliation(s): Lecturer PhD., “Gheorghe Dima” Academy of Music from Cluj-Napoca
Abstract: Present day art phenomena that surround us from all media channels compel us, who have been educated as professional musicians, to find justifications for the sonic abuse that contemporary society is subjected to and to resuscitate, within this vitiated context, the art music meant to re-educate our people, restoring them to the conscience and value of their identity. Educating the public and bringing them closer to contemporary art is a task meant to be fulfilled by music institutions as well, since they should seek to investigate efficient methods of generating connecting bridges to the large masses by transforming music into a shared cultural commodity.
Key words: music, management, entrepreneurship, research, communication
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 11_paper.pdf
11. Title: GREAT CONTEMPORARY PIANISTS IN INTERPRETATIVE DIALOGUE: ALFRED BRENDEL AND MURRAY PERAHIA
Author(s): Brînduşa Tudor
Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts from Iaşi
Abstract: The choice of valuable interpretative versions is highly important for both pianists on their way to performance and teachers in their complex activity of piano training. These become real models of esthetical thinking and artistic inspiration in the approach of a musical work. We shall use Sonata in D minor D 958 by Franz Schubert as an interpretative analysis model in the view of the pianists Alfred Brendel and Murray Perahia.
Key words: Key words: Alfred Brendel, Murray Perahia, comparative interpretations, piano
PART II DRAMA / CHOREOGRAPHY
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 12_paper.pdf
1. Title: CREATIVE APPROACHES TO PERSONAL DEVELOPMENT
Author(s): Anca Doina Ciobotaru
Affiliation(s): Associate Profesor PhD. Hab., „George Enescu” National University of Arts from Iaşi
Abstract: The contemporary Romanian school has frequently been a matter of debate; contents, methods, strategies, manuals, authors, analytical programs – they have all been supported, debated, annulled and reconsidered. However... The Ministerial Order that has allowed, in 2012, the introduction of “Personal Development” in the curriculum has opened a path that has not yet accomplished its role of guiding students to themselves and to the optimal variant for the manifestation of their potential; this aspect has even been demonstrated by analytical programs submitted to and edited by well known publishing houses. Therefore, the present study is meant to open an efficient dialog on the necessity of a transdisciplinary and creative approach to personal development.
Key words: theatre techniques, personal development, communication
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 13_paper.pdf
2. Title: MEDEA. A MOTHER – CREATION LABORATORY
Author(s): Dumitriana Condurache; Anca Mihaela Ciofu
Affiliation(s): Assistant PhD., „George Enescu” National University of Arts from Iaşi; Lecturer PhD., „George Enescu” National University of Arts from Iaşi
Abstract: One of the challenges which an arts‟ professor faces in the XXIth century is “the need to refresh”. Therefore, it is essential to find out efficient teaching-learning methods which imply the creative involvement of the students, in order to get an organic learning as a result, but also in order to provoke a superior degree of responsibility towards the process itself and, last but not least, towards their future profession. That‟s why we chose to work with a group of students based on the theatre-laboratory system, they getting involved in every step, from the choice of the text to the improvisation, until the making of the final show.
Key words: laboratory, workshop, Ancient Greek Theater, mask, marionette
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 14_paper.pdf
3. Title: THE PUPPET –THE ACTOR: PARALLEL MIRRORS
Author(s): Raluca Bujoreanu-Huțanu
Affiliation(s): Associate Professor, PhD., „George Enescu” National University of Arts from Iaşi
Abstract: The contemporary dynamics of performing arts has determined us to plead for the re/evaluation of the statute of the puppet as actor, as well as the puppeteer‟s. The present study might also be seen as a journey from and towards the theatre principles established by Kleist, Craig or Obraztov; a lesson about the poetry of technique and poeticized technique. The analysis of the double dimension of characters in animation theatre – the plastic and the interpretative sides – but also of the role of the relation between puppet and puppeteer has determined us to prove the necessity of using methods that are centered on interdisciplinary and comparative studies.
Key words: animation theatre, actor, puppet, interpretation
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 15_paper.pdf
4. Title: PHYSICAL EXERCISE IN HIGHLIGHTING THE PROFESSIONAL ARTISTIC ACTIVITIES
Author(s): Ana-Cristina Leşe
Affiliation(s): Lecturer Ph.D., “George Enescu” National University of Arts from Iaşi
Abstract: The importance and utility of physical exercise in the life style of the artists has inspired us to write this paper through which we address the people from this field who want to start their own business. We launch this idea in order to provide employees a space for sports activities inside the company. A program of varied physical activity introduced as a break in the work program is an important element in the improvement of the human and professional resources. In this paper we describe: types of spaces equipped for physical exercises, work programs and several reasons that sustain the idea that a recreation back is very useful in the utility artistic professions of the modern world.
Key words: recreation, sports, physical activity, professions
Filename: Review of Artistic Education - 10540 / 13-14 / 2017 / 16_paper.pdf
5. Title: THEATER DANCE ATELIER
Author(s): Lorette Enache
Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi
Abstract: The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expression which was called theatre dance evolved so much so that gesticulations and body exploration became its core components.
Key words: syncretism, theater, artistic expression