Review of Artistic Education. Number: 15 Year: 2018

Review of Artistic Education. Number: 15 Year: 2018

Journal Code: Review of Artistic Education - 10.2478

Issue Information

Number: 15

Cover Date (month and year): 03.2018

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PART I: MUSIC

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 01_paper.pdf

DOI: 10.2478 / RAE-2018-0001

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Title: SIMULTANEO ENSEMBLE – BRINGING OUR HISTORY INTO THE FUTURE / A new pedagogical approach of music-making developed from “Bottega dell'Arte”

Author(s): Cecilia Franchini

Affiliation(s): Professor, pianist & chamber music teacher, “Benedetto Marcello” Music Conservatory from Venice, Italy

Abstract: How much can contemporary artists and audiences learn from the past? The mission and activity of Simultaneo Ensemble – SIM – is presented. How SIM laboratory, grouping performers from the seven Music Academies of Veneto, encourages musicians to explore, perform and promote italian music composers and their works. This article will consider the relationship between research into historical concert programs and the creation of adventurous and compelling chamber music concerts for contemporary audiences. Learn how to enhance the position of chamber music activity trough projects that have suceeded in bringing people together toward common goals via the arts.

Key words: Simultaneo Ensemble, Consorzio tra i Conservatori del Veneto, chamber music laboratory, Waiting for Expo 2017, Italian “La generazione dell’ottanta”

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 02_paper.pdf

DOI: 10.2478 / RAE-2018-0002

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Title: Rhythmical creativity in duple and triple meter of students of early-school education in the light of their stabilised musical aptitudes and rhythm readiness to improvise

Author(s): Maciej Kołodziejski

Affiliation(s): Associate Professor Habilitated PhD., Karkonosze College from Jelenia Góra, Poland

Abstract: The article presents the results of (author's) own research on the students of early-school education imitation and the rhythmical improvisation in the light of their stabilised musical aptitudes measured with Edwin E. Gordon's AMMA test and also Edwin E. Gordon's readiness to rhythm improvisation readiness record (RIRR). In the first part of the research the students imitated some rhythmical patterns diversified in terms of difficulty in duple and triple meter and the subsequent part concerned guiding the oral rhythmical dialogue (on the BAH syllable) by the teacher with the application of various rhythmical motives in different metres. The students' both imitative and improvising performances were rated by three competent judges. What was undertaken was searching for the relations between musical aptitudes, improvisation readiness and the pupils' rhythmical imitation and improvisation abilities.

Key words: rhythmical improvisation, duple and triple meter, improvisation readiness, stabilized musical aptitudes

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 03_paper.pdf

DOI: 10.2478 / RAE-2018-0003

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Title: Similarities across the centuries: a comparison between two vocal works by Barbara Strozzi and Peter Maxwell Davies

Author(s): Rossella Marisi

Affiliation(s): Assistant PhD., "Niccolò Piccinni" Music Conservatory from Bari, Italy

Abstract: Musical creativity may be expressed by composers in diverse ways: sometimes they compose fully original works, which are characterized by specific features making them unique. Other times, musicians may feel a particular affinity with colleagues who lived centuries before, or identify peculiar resemblances between the time they live in, and a previous epoch, such as similar cultural climate and approach to life: in these cases, composers may author pieces which show surprising similarities with those of some predecessors. The present study compares a work of the seventeenth century, composed by Barbara Strozzi, and one composed in the 1960s by Peter Maxwell Davies, highlighting their similarities.

Key words: Baroque, Expressionism, mad scene, melismatic passages, chromatism

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 04_paper.pdf

DOI: 10.2478 / RAE-2018-0004

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Title: ASSESSMENT TYPOLOGIES USED WITHIN THE DISCIPLINE THEORY, SOLFEGGIO, MUSICAL DICTATION

Author(s): Luminiţa Duţică

Affiliation(s): Professor PhD., „George Enescu” National University of Arts from Iaşi, Romania

Abstract: Assessment is a distinct stage within the teaching process, aiming to measure the level of the knowledge, skills and competences acquired within a given time frame. The discipline Theory, Solfeggio, Musical Dictation involves a synthesis between the theoretical and the practical side of the matter, and, as a result, it uses specific assessment tools for each side. Modern assessment methods involve personalized systems based on the diversification of types of docimological tests, quizzes, practical tests, etc. In this study we will present a series of personal contributions referring to the contents specific to the discipline Theory, Solfeggio, Musical Dictation taught at university.

Key words: assessment, music theory, solfeggio, dictation, tests

 

 

Filename: Review of Artistic Education – 10.2478 / 15 / 2018 / 05_paper.pdf

DOI: 10.2478 / RAE-2018-0005

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Title: Enescu at Bălți: History and Contemporaneity

Author(s): Margarita Tetelea

Affiliation(s): Associated Professor PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia

Abstract: In the many musicological researches on the encyclopedic creation of the genius Enescu, a very important aspect – the mass distribution of the great violin art – is less reflected. The present investigation fills in this gap by describing the concertistic and charity activity that George Enescu carried out in Bălţi in the interwar period. In Bălţi, this phenomenon is valorized and George Enescu’s name is immortalized by being conferred to the Children’s Music School only after about 80 years, in 1994. From this moment on, a whole array of cultural and artistic and educational activities begins to unfold, the apex of which consists of three editions of the “George Enescu” Festival-Contest where students – musicians from the pre-university artistic education schools – as well as notorious personalities in the interpretative and pedagogical-artistic field from Moldova and Romania compete.

Key words: George Enescu, Festival – Contest, cultural and artistic activities, music school, Children’s Philharmonic

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 06_paper.pdf

DOI: 10.2478 / RAE-2018-0006

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Title: THE INTERDISCIPLINARY DIMENSION OF THE VOCAL-CHORAL CULTURE OF THE PUPIL IN THE MUSIC SCHOOL

Author(s): Ana Glebov

Affiliation(s): Lecturer, Doctoral Candidate, „Alecu Russo” State University from Bălţi, Republic of Moldavia

Abstract: Process in the context of the vocal-choral culture of the students of the music school. The concept of interdisciplinary is considered as a symbiosis of two or more academic disciplines in the formation of the vocal-choral culture of pupils in the musical-artistic field. In this case, interdisciplinary occurs in integrating the knowledge, capabilities and aptitudes formed, taking into account significant specific factors. Thus, the interdisciplinary approach is carried out through such disciplines as solfeggio, history of music, instrument, ensemble, but also the integration into the vocal-choral of the method of interiorizing the music through the philosophical, musical and psycho-pedagogical aspects.

Key words: interdisciplinary, vocal-carnal culture, process, music interiorization

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 07_paper.pdf

DOI: 10.2478 / RAE-2018-0007

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Title: Advocating the Poetics of Sound in the Cycle Les nuits d´été By Hector Berlioz

Author(s): Loredana Viorica Iaţeşen

Affiliation(s): Associate Professor PhD., “George Enescu” National University of Arts from Iaşi, Romania

Abstract: By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.

Key words: romantic composer, orchestral lied, text-sound relationship, critical reception

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 08_paper.pdf

DOI: 10.2478 / RAE-2018-0008

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Title: POSSIBLE APPROACHES TO THE CONCEPT OF COLLABORATIVE TEACHING IN THE “MUSIC ANALYSIS” COURSE. BENEFITS AND CHALLENGES

Author(s): Gabriela Vlahopol

Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts, Iași, Romania

Abstract: The concept of Collaborative Teaching is one of the innovative approaches to learning, which has changed the view of traditional teaching methods by involving two or more teachers in training a single group. The process involves a variety of flexible teaching methods that meet the learning needs of all students, while developing their communication, collaboration, critical thinking and creativity skills. Artistic education in the university environment contains two main biases, theoretical and practical (performance), which are divergent in the way of manifestation and collaboration between teachers. The applicability of the concept of Co-Teaching in performance is relatively intuitive, with a sporadic concretisation and no visible results in students' evolution. As regards the theoretical part of the musicians, the collaboration in the teaching process could be an important tool for correlating the information obtained at different disciplines in different fields (harmony, counterpoint, music history, folklore, aesthetics, stylistics, music theory, music analysis, etc.), but also to actively acknowledge the importance of a complex vision on the formation of a complete musician.

Keywords: Co-Teaching, music analysis, collaboration, methods

 

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 09_paper.pdf

DOI: 10.2478 / RAE-2018-0009

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Title: An analysis of the vocal ensembles FROM the opera “I Puritani” by Vincenzo Bellini

Author(s): Cristina Simionescu

Affiliation(s): Associtate Profesor PhD., “George Enescu” National University of Arts from Iaşi, Romania

Abstract: I Puritani is the masterpiece that crowned the creation of the Italian composer Vincenzo Bellini, being remarked and appreciated for the richness of his melodicity and profound symbols filled with the inspiration and creativity of a creator. This was the last of the ten works composed by Bellini, whose disappearance was premature, at only 33 years, but the passion and talent with which he created revealed a work dominated by essence and emotion, which establishes a close connection between chant and the poetic text, providing new expressive valences to the lyrical universe. The extremely difficult and demanding vocal writing raises serious challanges, the Bel-canto style meaning not only a ”beautiful chant” but also a difficult texture, a certain specific phrasing and a spread of spectacular acute tones.

Key words: Bel-canto, Italian opera, musical romance, musical ensemble

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 10_paper.pdf

DOI: 10.2478 / RAE-2018-0010

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Title: Interpretative performances: Elisabeth Leonskaya and Paul Badura-Skoda

Author(s): Brînduşa Tudor

Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts from Iaşi, Romania

Abstract: In the complex road of deciphering and understanding a musical work, an important step for the pianist (performer or professor) is represented by the choice of reference interpretations according to some famous musicians. Elisabeth Leonskaya and Paul Badura - Skoda are among the most distinguished representatives of the contemporary school of piano.

Key words: Elisabeth Leonskaya, Paul Badura - Skoda, interpretation, piano

 

 

PART II: DRAMA / CHOREOGRAPHY

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 11_paper.pdf

DOI: 10.2478 / RAE-2018-0011

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Title: Basic practice methods in university general piano classes

Author(s): Cristina Andra Răducanu

Affiliation(s): Lecturer PhD., “George Enescu” National University of Arts from Iaşi of Romania

Abstract: The purpose of this article was to present and analyse some practicing piano methods which are used during secondary piano lessons at the university. The final goal was to show the benefits of these practice strategies in the process of learning a new piano piece. Experience demonstrated that in order to keep students motivated, there is a need for them to know how to approach and study a new repertoire and to be sure that implementing these practice methods will help them gain the necessary skills which will enable them to fluently perform a musical piece.

Key words: piano pedagogy, piano practice techniques, secondary piano, new repertoire, memorize

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 12_paper.pdf

DOI: 10.2478 / RAE-2018-0012

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Title: The Acting Student’s Choreographic Training. Several Cognitive Objectives

Author(s): Petre Șușu, Carmen Mihaela Crețu, Aurelian Bălăiță

Affiliation(s): Doctoral Candidate, “Alexandru Ioan Cuza“ University Iaşi, Professor PhD. “Alexandru Ioan Cuza“ Iaşi, Professor Habilitated PhD. “George Enescu” National University of Arts from Iași, Romania

Abstract: Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre.

Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors.

Key words: acting student, choreographic competencies, educational objectives, cognitive taxonomy, cognitive competencies, stakeholder, theatre/film director

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 13_paper.pdf

DOI: 10.2478 / RAE-2018-0013

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Title: On the Educational Potential of Folk Dance

Author(s): Petre Şuşu

Affiliation(s): Doctoral Candidate, „George Enescu” National University of Arts from Iași, Romania

Abstract: Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.

Key words: folklore, folk dance, choreographic contents, didactic transposition

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 14_paper.pdf

DOI: 10.2478 / RAE-2018-0014

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Title: Practice through movement and practice through motionlessness

Author(s): Ana Cristina Leşe

Affiliation(s): Lecturer PhD. / „George Enescu” National University of Arts from Iași, Romania

Abstract: Through this paper we address the students from theatre and music specialists, but also all people interested in elements belonging to Tai Chi practice, considering that these, once introduced into a specific physical exercise program, are beneficial for the development of the respiratory capacity and also for a good physical and mental balance that support the professional skills. These two expressions used in the majority of martial arts, dung-gong movement practice and jing-gong motionless practice are yin and yang aspects and are based on the balance between motion and stillness of the body and the mind.

Key words: Tai Chi, physical, mind, theatre, music

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 15_paper.pdf

DOI: 10.2478 / RAE-2018-0015

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Title: The Feldenkrais Method in the Puppeteer’s Training from the Perspective of Nicolas Gousseff’s Handheld Puppets Workshops

Author(s): Anca Mihaela Ciofu

Affiliation(s): Lecturer PhD. / „George Enescu” National University of Arts from Iași, Romania

Abstract: Although the Feldenkrais method is quite well-known and used in relation to dance, music, and acting, it is rather uncommon to associate it with animation theatre. The puppeteer’s art is a profession that requires motor skills and sustained physical effort, which demands that the animating actor has an extended consciousness of oneself and of the space. Therefore, the Feldenkrais method can be a useful instrument in the puppeteer’s education and training, as the placing of the body in a relaxed stance, one which helps in the management of pain and effort, facilitates the conscious and creative learning of animation techniques, with an emphasis on the coordination and fluidity of movement. These are learning principles of the art of animation that are successfully used by Nicolas Gousseff, an artist that was formed at ESNAM (École Supérieure Nationale des Arts de la Marionnette de la Charleville-Mézières), and who has specialized in handheld puppets and using the actor’s body as a performative space for this type of animation.

Key words: the Feldenkrais method, Nicolas Gousseff, puppeteer training, handheld puppets

 

 

Filename: Review of Artistic Education - 10.2478 / 15 / 2018 / 16_paper.pdf

DOI: 10.2478 / RAE-2018-0016

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Title: COREGRAPHIC ARTS EDUCATION FROM THE INTER-CULTURAL PERSPECTIVE

Author(s): Cristina Todi

Affiliation(s): lecturer PhD. / “George Enescu” National University of Arts from Iaşi, Romania

Abstract: Theatre, dancing and singing are arts born out of a common body that share the same idea and means of expression – the human body, these arts manifesting through the most important condition – the artist. The openings exhibited in the theatrical space, spiritless in some people, pragmatic in others, pass on the intimate message of dancing: substance, essence, density.

Key words: choreographic language, actor, gesture-symbol, development, artist, social space, the artist’s universality

 

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Releases/year: 2
DOI: 10.1515 / RAE-2016
DOI: 10.1515 / RAE-2017
DOI: 10.2478 / RAE-2018
DOI: 10.2478 / RAE-2019
DOI: 10.2478 / rae-2020

 

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