Part I Music
1. A MUSICOSOPHIC WAY OF KNOWING MUSIC AND LIFE / ION GAGIM, PROFESSOR PHD, „ALECU RUSSO” STATE UNIVERSITY FROM BALTI , REPUBLIC OF MOLDAVIA
"What is the man who does not feel the music flowing into his soul?", George Balan
Abstract: The issue under consideration addresses the phenomenon of Musicosophia (Latin music, Gr. Sophia, meaning "Wisdom of music", a concept devised, launched and materialized by George Balan, an outstanding musicologist, philosopher and man of culture) under several primal hypostases: a) a philosophical concept of music, treated as a spiritual phenomenon, with supreme meanings in building the human being; b) a musicology concept that highlights the listener for whom the music is, in fact, created and who is considered the "third founder" of it. "Musicosophia" underlies the listener’s special status and location in the very act of musical communication, emphasizing his importance as a major factor in the existence of music and its cultural and social functioning, c) a musical and pedagogical concept with specific principles and methodology aimed at training "active", "conscious "," research ", and "meditative" hearing musical skills that lead to a profound understanding of the artistic message and the art of sounds d) an institution with this name is located in Sankt Peter, a town in the High Black Forest, Germany.
Music comes not only to delight or to inform a person, but to transform him and raise him to the sublime. According to its characteristics, and following such an approach, music turns into a higher form of knowledge of the human being and life. "Knowing by identifying", applied by the school of Musicosophia, leads to the creation of a new kind of experience, a new way of thinking, the acquisition of higher wisdom (present in music), practicing, therefore, a "wise" way of leading our existence.
Keywords: philosophy of music, active hearing, the school musicosophyc
2. FEMALE MUSIC MAKING IN THE NINETEENTH CENTURY / Rossella Marisi, Doctoral Candidate, Italy, “George Enescu” University of Arts from Iasi of Romania
Abstract: Women’s studies, a relatively new academic field, examine the way society creates, patterns and rewards women’s status in society. Research has shown that, in the course of time, women have been led to identify and perceive their role through gender-oriented education: either in private households or in schools, the subjects taught to girls were different from those taught to boys. Music, in particular, was considered strongly linked with femaleness.
Being trained in music education, girls and women of the upper class became during centuries active participants in all aspects of musical life, performing and composing music; nevertheless, often their endeavors remained unknown and unpublished, being considered amateur accomplishments, destined to be eclipsed by those of highly trained “professional” male musicians.
This study strives to highlight the principal characteristics of the nineteenth century society and culture, which introduced compulsory education for aristocratic and bourgeois girls, but denied them the chance to have a career. Nevertheless, some highly talented young women became renowned performers, composers and music teachers: among them Maria Szymanowska, Louise Farrenc, Léopoldine Blahetka, Fanny Mendelssohn, and Clara Wieck.
Keywords: women’s status in society, women musician, music academic education
3. LAW AND MUSIC: COPYRIGHT AND NEIGHBORING RIGHTS / Flavia Marisi, Doctoral Candidate, Italy
Abstract: Both composition and performance are considered creative acts: nevertheless, composers enjoy specific Intellectual Property Rights (IPRs), which are not attributed to performers. This originates from a long history, which identified creativity with originality: in Romanticism composers had to write original works because only those works which showed genius and originality were considered copyrightable. Yet at present many researchers deem that each composition is (at least in part) a plagiarism. Unlike composers, performers have not to show originality, but to choose one or more famous performers as their role models, inserting themselves in existing performing styles. However, research demonstrated that performers are always creative, either in playing classical repertoires or in performing aleatoric music or jazz. Should therefore higher IPRs protection be recognized to performers? Or vice-versa, should lower IPRs protection be recognized to composers?
This study tries to analyze the most important steps in the history of copyright law, and claims that a balance between IPRs and public domain could benefit either musicians or the society as a whole, promoting progress in science and the arts.
Keywords: Intellectual Property Rights, protection be recognized to performers
4. ENTERTAINMENT IN THE ROMANIAN VS. EUROPEAN SCHOOL MEANS OF PERFORMANCE STIMULATION / Mihaela Loredana Gârlea, Doctoral Candidate, “George Enescu” University of Arts from Iasi of Romania
Abstract: The entertainment in Romanian schools have a vision complementary ways of developing cognitive capabilities, means of expression, the externalization of states, their awareness and shaping the personality (education through film, theater, music, dance) among preschoolers pupils and students.
Keywords: entertainment, school, parents, educational, artistic, social.
5. MODALISM AND TONALISM IN THE ROMANIAN LITURGICAL CHORAL CREATION WHICH ENHANCE THE TRADITIONAL CHURCH CHANTS / George Dumitriu, Lecturer PhD, “George Enescu” University of Arts from Iasi of Romania
Abstract: The liturgical chant of Romanian Orthodox Church has its source in the Byzantine churchly cultural aria. Being exclusively monodic, this liturgical chant has begun to be used and enhanced since the second half of the 19th century. The melodies of Romanian Church are essentially modal, as a legacy of Byzantine spirituality on Romanian soil. It belongs to the eight church “echoi”, whose sound organization is different from the Western ecclesiastical modes. Its choral vesting led to the coexistence of two different sound worlds: a modal one, which lies in the church songs and a tonal one consisting of the predominant harmonic conception of liturgical songs choral treatment.
Keywords: mode, echos, tonality, chord, harmony, choir, Byzantine, melody, liturgical chant.
6. INTEGRATING RELIGIOUS AUTOCHTHONOUS MUSIC IN PUPILS’ MORAL AND SPIRITUAL EDUCATION / Marina Caliga, Lecturer, Doctoral Candidate, „Alecu Russo” State University from Balti, Republic of Moldavia
Abstract: They say that music is able to ascend earth to heaven, and make heaven unite with earth. Religious music is a form of worship of God and bears an immense spiritual power. It is one of the largest areas of autochthon culture. Religious singing has marked Moldovan music history over several centuries of professional musical art existence in our country. This article is a summary of the subject of religious music integration in moral and spiritual education of students.
Keywords: autochthon religious music, students’ moral and spiritual education
Part II DRAMA
1. BIBLICAL MARKS IN IONESCO’S AND BECKETT’S DRAMA / Tamara Constantinescu, Dramatic Theatre „Fani Tardini” Galati – actress, Assistant, Doctoral Candidate, “George Enescu”University
Abstract: The “light” experience lived by Ionesco, determined his early interest for mystical writings dedicated to the search of sacred, interest that influenced the subject for his writings as well as “the birth” of characters. The symbols of a biblical aspect geminated in the projection of the feminine characters are perfected by the onomatological signification that reminds also of biblical signs. The most often encountered names are Marie, Mary referring to Virgin Mary (The bold singer, The Lesson, Exit the King, Improvisation at Alma’s). The characters Marie-Madeleine and Madeleine (Hunger and Thirst, Victims of duty, Amédée or How to get to rid of) are the echo of Marie Magdalene. Marthe, the little girl from Hunger and Thirst and Air pedestrian brings Marta, Lazarus’s sister, to our mind. The lover of the protagonist from A hell of a mess!, Agnes, has as a onomatological signification the sacrificial lamb. The name Margareta, with the English version Daisy\ Dany, can be encountered in the Ionesco’s plays Exit the King, Rhinoceros or The Killer without Reason. Also in Samuel Beckett’s plays the characters sometimes appear as a continuation of ancient biblical images. The onomatological signification of the characters is opening, as in Ionesco, to several sources, the main source being the Bible.
Keywords: theatre of the absurd, Ionesco, Beckett, The Bible, signification onomastics.
2. ALTERNATIVE PEDAGOGY IN THE ART OF THEATRE OF THE XX AND XXI CENTURYES / Ioana Petcu, Assistant PhD, “George Enescu” University of Arts from Iasi of Romania
Abstract: In theatre, the great struggle of the XX and XXI centuries is about definitions of basic terms, this way being born multiple views of approaching to the scene and the artistic act. If Stanislavski and Brecht have traced the most important work methods for acting and directing, at the beginning of XX century, they actually represented the rigorously trunks from which evolved or derived the main European theatre schools. Contrary to any appearances, the major doctrines have common points, too, weather we speak about “the poor actor” of Jerzy Grotowski or about “the meeting space” of Peter Brook’s vision, about the searched exteriority of Anatol Vasiliev or about “the spiritual theatre” of Andrei Serban, the intersection zones are recognizable. Difference and unity are the terms that describe best the vast landscape of research in the actor’s and the director’s art of the last hundred years theatre.
Keywords: stage alternatives, method, system, actor’s art
3. THE FORMATION OF THE ELEMENTS OF THEATRICAL CULTURE AT STUDENTS: BETWEEN SEMIOTICS OF SIGNIFICATION AND COMMUNICATION / Angela Bejan , Assistant, Doctoral Candidate, „Alecu Russo” State University from Balti, Republic of Moldavia
Abstract: The present article deals with the possibility and the advantages of the semiotic approach of the formation of the elements of theatrical culture given by the very essence of the theatrical culture phenomenon. Understood as the realization of certain possibilities of culture manifestation, stored in nature or in human condition, in form of certain cultural virtualities, the element of theatrical culture already contains latently the premises of its methodological improvement in the educational process. On the one hand, the theatrical art is approached as a semiotic act in a paradigm of semiotics of signification, but, on the other hand, the educational process is performed in the key of a semiotics of communication.
Keywords: theatrical culture, symbol, sign, semiotic act, act of pedagogical communication, educational background