1. MUSICAL-EDUCATIONAL RESEARCH OF THE ADAPTATION OF E. E. GORDON'S THEORY OF MUSIC LEARNING IN POLAND
Beata Bonna Associate Professor PhD , “Kazimierz Wielki“ University of Bydgoszcz from Poland, email@example.com
Paweł A. Trzos Associate Professor , “Kazimierz Wielki“ University of Bydgoszcz from Poland, firstname.lastname@example.org
Maciej Kołodziejski Associate Professor PhD Habilit, Academy of Humanities from Pułtusk of Poland
Abstract: The authors demonstrate the results of their own research on the adaptation and application of E. E. Gordon's theory of learning music in the educational practice in Poland. Their research quests regard all the phases of education from pre-school period to university. The research is generally used to verify the theoretical assumptions of music learning in Polish conditions on the basis of the experimental procedures with the use of tonal and rhythmical motives in sequential didactic approach, diagnosing the musical abilities and achievements with the tools by Edwin E. Gordon, musical instrument timbre preference in children’s formal and informal education as well as the correlative strategy in examining the relation between the musical abilities and the eagerness for musical improvisations and musical achievements. The authors represent the only research centre in Poland dealing with statutory research on the theory of learning music.
Key words: Edwin E. Gordon's theory of music learning, musical education, musical abilities, musical-educational research, instrument timbre preference, musical achievements, readiness for harmonic and rhythmical improvisation, pre-school and school education, teaching music
2. DEBUSSY AS A FORERUNNER OF INTERCULTURALISM
Alessandra Padula , Professor,“Giuseppe Verdi” Conservatory of Milan from Italy
Abstract: Between the nineteenth and the twentieth centuries, when colonialism was in full force, Western composers expressed a deep interest in non-Western music, drawing on its structures, melodies, rhythms and timbres. Since 1901 Debussy wrote some pieces related to gamelan music. Should these pieces be considered as examples of colonialist exoticism, or rather as early models of interculturalism? In trying to answer this question, this paper highlights the educational role of music promoting respect and appraisal of cultural diversity.
Key words: colonialism, exoticism, Debussy, gamelan, interculturalism, cultural diversity
3. MUSIC AND DANCE AS A WHOLE
Rossella Marisi, Doctoral Candidate, Italy, “George Enescu” University of Arts from Iaşi of Romania
Abstract: There is a deep relationship between music and dance, because music performance may be considered as a kind of dance, usually performed by the instrumentalist’s arms, hands and fingers, and the movements performed by dancers may be considered as a source of sound and music. In performing works belonging to specific genres dancers and music performers interact, whereas in other works one kind of professionals fulfills all the required tasks. This article aims at exploring how the relationship between dance and music evolved over time, highlighting the most interesting genres and forms based on these two art forms.
Key words: music, dance, synchronization, coexistence, visual aspects of music, musical aspects of dance
4. MUSICAL IMPROVISATION AND JUDICIAL ACTIVISM
Flavia Marisi, Independent scholar, Italy
Abstract: Can musical improvisation contribute to the development of music? Can judicial activism foster the progress of the law? Supporters of musical improvisation underline its popularity among performers of different countries, education, and stylistic views; opponents assert the higher appropriateness of a faithful performance of the piece, in accordance to the composer’s wishes. Similarly, supporters of judicial activism affirm that it serves the needs of an evolving society, whereas opponents contend that in this way the judiciary usurps the role of the legislature.This article tries to shed a light on these issues, citing the opinions of important researchers on these themes.
Key words: improvisation, judicial decision-making, constraints, score, legitimacy.
5. LATVIAN CONCEPT MUSIC IN THE BEGINNING OF THE 21ST CENTURY
Ieva Gintere, Doctoral Candidate, ”Jāzeps Vītols” Latvian Academy of Music from Riga of Latvia, supervisor Professor PhD. Mārtiņš Boiko
Abstract: Concept music is a new trend in the Latvian music of the last two decades. The term carries a new theory, too, thus claiming to create a new and theoretically established category for the history of the Latvian music. Nevertheless, in the history of music the conceptualized musical structures are already a well-known phenomenon that has its roots in the American and European avant-garde music and also in the longstanding tradition of the musical cryptography. Cryptography is a tradition that has been used in the music since the ancient cultures in order to incorporate the sacral meanings, secret names, hidden spiritual symbols and also communicate the information for political aims. Some of the contemporary Latvian composers – Andris Dzenitis, Martins Vilums, Santa Buss, Janis Petraskevics, Santa Ratniece, Ruta Paidere, Kristaps Petersons, and others suggest similarly that specifically coded and verbally explicated ideas are crucial in many of their instrumental works. The analysis of their oeuvres shows that the ideas are hidden in specific symbols that are not perceivable immediately. They are sometimes deeply ciphered and the idea might not be obvious even to an experienced musicologist unless he knows the code.
Key words: avant-garde music, programmatic music, music semiotics, code, timespace
6. THE CONCEPT AND PRACTICE OF TEACHING MUSICAL KNOWLEDGE BASED ON OBSERVATION
Viorica Crişciuc, Lecturer PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The present article reflects the results of the observation experiment. The teaching and the formation of musical knowledge during music education lessons was investigated. The purpose of the observation experiment consists in testing the quality of teaching-formation of musical knowledge to pupils in terms of lack of application/partial application of strategies specific to aesthetic and artistic education/music education. For the statistical evaluation of the samples were applied the indicators of efficiency of teaching and formation of musical knowledge – the perception, the understanding-the synthesis, the application and the valorisation, the profound experience of the musical contextualized message in music teaching activities of the lesson.
Key words: music education, musical knowledge, musical cognition, strategies specific to music education, observation experiment, music teaching activities
7. THE INTEGRITY OF THE LESSON OF MUSIC EDUCATION THROUGH MUSICAL – DIDACTICTECHNOLOGIES
Marina Caliga, Lecturer, Doctoral Candidate, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The education reform in the Republic of Moldova has triggered an intense process of reconceptualization of music education, curriculum reform,reassessment and restructuring the content of education.In the context of thequick modern changes,the aim of the musical pedagogy is to form the creative personality in the new conditions. The development and improvement of education, based on the changing requirements of societyto personality, and the transformation of the student into an active subject of his own development integrated into society involves the use of educational technologies and methods,which ensure efficient activities for teaching, learning and assessment. This study describes the modernization of the musical and pedagogical technologieswhich contribute to the integrity of the lesson ofmusic education through principles, strategies, methods and techniques.
Key words: music-didactic technology, lesson of music education, logical-artistic integrity
8. PIANO PEDAGOGY: WESTERN APPROACH IN A ORIENTAL CULTURE PEDAGOGICAL EXPERIENCE IN MAGHREB
Elena Ţigler Lecturer PhD, Higher Institute of Music from Tunis of Tunisia
Abstract: The main objective of education is to realize progress through qualitative changes driven by self-awareness. Education has a permanent effect and it entangles a long-term transformation. Pedagogy is necessary in every culture in order to facilitate and transmit cultural traits and art to future generations, being tied strongly to societal reality. Western pedagogical experience in a country of oriental background needs to find the balance between formative and informative, universal and traditional, and combine all those elements in a way that they complement each other for attaining the goal of opening doors to deeper knowledge for all the parties involved.
Key words: Pedagogy, western, oriental
9. PERSPECTIVES AND MUSICAL ANALYSIS BETWEEN OCCIDENT AND ORIENT
Elena Ovănescu-Pîrvu Associate Professor PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Impact of occidental culture on oriental music is recent, and so is the discovery of oriental music by occidental composers. Between modal and tonal systems, from occidental rhythmic span to oriental rhythmical diversity, from the instrumentation of the modern symphony orchestra to the oriental small group of Takht, from the various and ample genres of Occidental music to the accompanied monody specific to oriental music, composers of the twentieth century (both Occidental and Oriental) have searched for the ideal formula to understand, and then to introduce in their creations the atmosphere of another culture. If expressive meaning may be the same (sadness, joy, melancholy, etc.), the expression and, above all, the esthesic capabilities of each cultural public differ significantly . Therefore, the two musical cultures can meet tangentially, they can share certain typical elements, but without “their voices ever to be mistaken, or to lose their own tone and register” (J. During).
Key words: Occidental culture and Oriental culture, elements of musical language, repertoire, professionalism, musical communication and perception in two cultures
10. MELODY, RHYTHM, COLOR. A GENUINE VISION UPON ORFF METHOD
Luminiţa Duţică Associate PhD,“George Enescu” University of Arts from Iași, of Romania
Abstract: The Orff-Schulwerk pedagogical model has imposed as one of the most attractive and efficient method of musical education where the rhythm and percussion instruments play a fundamental role. Synchronic perspective, especially the diachronic perspective upon this phenomenon indicates a permanent update and enrichment both of the concept itself and modalities of practical concretization. The present study refers to personal results obtained by the vocal-instrumental children assembly Alpha Lirae that I conduct since 2007, a band that has promoted in Romania and outside the borders a modern musical repertoire based on the exploitation of rhythmic and melodic virtues of Romanian songs with oral tradition. I will highlight the playful dimension of interpreted works by revealing the polyphonic play, techniques of modern composition and coloring that derive from diversification of vocal-instrumental combinations.
Key words: Orff method, syncretism, percussion, rhythm, polyphony, ostinato, musical play
11. THE PREMISES OF EXTRACURRICULAR MUSICAL ENVIRONMENT DEVELOPMENT AS A FORM OF PUPILS’ MUSICAL CULTURE
Marina Cosumov Lecturer PhD, „Alecu Russo” State University from Bălţi , Republic of Moldavia
Abstract: The content of education in the postmodern society is a strategic resource for sustainable human development in space and time determined from/by historical, cultural and socio-economic point of view, etc. The educational reform, based on curricular approach, involves radical changes including arts education field, constituting/ representing "an essential precondition for/of the cult personality formation with high moral and spiritual aspirations" [Music Education Concept]. The conceptual valorisation of the extracurricular musical environment will favour the concern of musical education field, when the last will ensure a productive continuity by pursuing the development and succession from the teleological independent perspective of the affirmation process in its own correlation with the musical environment, available everywhere.
Key words: continuous musical education, extracurricular musical environment, musical context, independent musical knowledge
12. ΤHE IMPROVEMENT OF THE LATENT POLYPHONIC VIRTUES OF PSALTIC MONODIES OF THE TROPARION OF ST. PARASKEVA, ECHOS VIII (PERSONAL CHORAL ARRANGEMENT)
George Dumitriu Lecturer PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Troparion of St. Paraskeva in ehul VIII psaltic belongs to the series of general hymns (standard) that is played in the venerable holidays. The Psalter Troparion experienced some choral harmonization signed by Ioan D. Chirescu, Achim Stoia and Nicolae Lungu. This paper analyzes and explains a new treatment of this hymn, which combines homophon writing with elements of imitative writing and fleeting use of different tonal plans, exploiting latent plurivocal virtues of psaltic monody.
Key words: melody, eh, consonance, imitative polyphony, total plan, choral treatment
13. THE VOCAL AND INSTRUMENTAL ART IN A COUPLE’S AURA
Lăcrămioara Naie Professor PhD, „George Enescu” University of Arts from Iaşi of Romania
Abstract: This paper intends to be an inquisition concerning the multivalent preparation of the Classic Canto students by the instrumentality of the piano. The didactic, scholastic and artistic experience demonstrated the fact that the Classic Canto students have the necessary skills and aesthetic abilities both for the vocal interpretation and for the instrumentalist apprehension. It is about a unique kind of relationship between the performer and the musical instrument in a shape and essence unity which is characteristic for the instrumental-vocal chamber music while overlapping the singer and the instrumentalist. Therefore, the entire poetry of the artistic language cannot be perceived and reduced only to the expressiveness and the delight of the vocal intonations but understood within a cohesion and instrumental comprehension.
Key words: Overlapping instrumentalist, lyrical artist
14. NEW FORMS OF SYNCRETISM IN THE OPERAS OF THE FIRST HALF OF THE 20TH CENTURY. THE INTERTWINING GENRES
Loredana Viorica Iațeșen Lecturer PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Given the multiple aspects of the post-Wagner opera genre, with a history so heterogeneous and fragmented as to prevent detailed coverage, it would be superficial on our part to attempt a complete presentation of 20th century opera. Limiting ourselves to the new variety of stagings and their reception, we shall dwell on the numerous genre works, their chronological continuity, changes in the perception of syncretism (the various terms applied to the genre – lyrical drama, musical story, monodrama, musical or instrumental theatre, etc.), the particulars of the relationship with theme and dramaturgy types (the verist, post-romantic, impressionist, expressionist, neoclassical), approached languages (tonal, modal, atonal, serial or combinations of these) and the intertwining vocal (cantata, oratorio) or instrumental genres (poem, fantasy and typical structures of autonomous music – invention, fugue, sonata, etc.).
Key words: opera, syncretism, dramaturgy, the intertwining Genres, language
15. THE SET OF 24 PRELUDES AND FUGUES – DIDACTIC INTENTION OR CONSTRUCTIVISM?
Gabriela Vlahopol Lecturer PhD, “George Enescu” University of Arts from Iași of Romania
Abstract: One of the most popular collection of preludes and fugue on all notes of chormatic scale, ”Das Wohltemperierte Klavier”, belonging to Johann Sebastian Bach, represent the starting point of a long series of cyclical works with didactic purpose, made after the same pattern of tonal sequence. The didactic goal of the set, explicitly expressed by the composer in work prologue, and structural organization were important premises for subsequent revaluation of bachian model. This study aims to discover the relationship between teaching and constructivist side both in Wohltemperierte Klavier, but in its modern iterations, and the transformation over time of the original intent of the teacher Bach.
Key words: cycle, didactic, constructivism, Bach, modernism, tonality
16. ACHIM STOIA – THE MULTIFARIOUS NATURE OF A PEDAGOGUE. MARGINALIA ON THE SKETCH OF A PORTRAIT
Anca Leahu Lecturer PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: An essential generator of the artistic academic breath in Iași, Achim Stoia played a decisive role in the development and the thriving history of the Iași Conservatory. His activity is proof of a special passion for folk music, as he was a collector of folk songs, which he used mainly in his own compositional creations, of a selfless dedication to managerial activities, of a particular consistency in performing musical life, as he was a tenured conductor of the Iași Philharmonic Orchestra, and of strenuous efforts to research and attempt to create and discover meanings, translating them into a glass window stained with sounds. As to Achim Stoia's creations, he remained faithful to the soundness of the tradition that he acquired in Paris, as he managed to express himself best, most naturally and full of inspiration, in the choral genre, to which he devoted himself from the very beginning of his compositional career; he was clearly very attached to the inexhaustible resources of human voice, to the manner in which it met the needs of his creative sensitivity and to its capability to express folk music so genuinely. In his works, Achim Stoia made use of the simplicity of technical means, yet he expressed a maximum of semantic efficiency.
Key words: Achim Stoia, folk music, choral genre, semantics
17. THE VALUE OF CONTEMPORARY MUSIC EDUCATION AND MUSICAL ANIMATION: EDUCATION FOR MUSIC, EDUCATION THROUGH MUSIC AND THERAPY THROUGH MUSIC
Rosina Caterina Filimon Lecturer PhD, "George Enescu" University of Arts from Iasi of Romania
Abstract: Contemporary music education is based on criteria of globality, interdisciplinarity and transdisciplinarity, which even if it focuses on sound language, it is designed constantly on other learning areas involving the ludico-expressive, psychomotor, verbal and logical-mathematical sphere, to which are added the auditory-musical experiences of the child: perception, selection, storage, analysis, notation, handling and production. In the XXI century, music education is no longer a solitary discipline, codified for the untrained people, but rather a social experience of music that belongs to the whole community. Contemporary musical activities, in preschool and school education, are organized in so-called music workshops, where dynamic activities combining music and movement are practiced, education being achieved by musical animation, which replaces the rigid teaching methods and adapts to each individual. Musical animation is a cultural phenomenon, a social practice and a new teaching strategy in music education. This includes three main directions for the application of music education: education for music, education through music and therapy through music. Music education has the noble mission to activate, to raise awareness and to balance the child’s receptivity, giving them opportunity to know the sonorous world by directing them to express through sounds, to promote and develop the potential of the child, rich in expressive-communicative resources, the musical experience being also important in shaping intelligence.
Key words: Music Education, Musical Animation, Education for Music, Education through Music, Therapy through Music