Review of Artistic Education. Number: 17: Year 2019

Review of Artistic Education. Number: 17: Year 2019

Journal Code: Review of Artistic Education - 10.2478
Issue Information

Number: 17 Cover Date (month and year): 03.2019




Individual Article Information


Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 01_paper.pdf

DOI: 10.2478 / RAE-2019-0001


Author(s): Zuzana Sláviková, Eva Králová

Affiliation(s): Associate Professor, PhD., “Prešov University“ from Prešov, Slovak Republic, Assistant Professor, Ph.D., “Alexander Dubček University“ from Trenčín, Slovak Republic

Abstract: In our contribution we point out to the current challenges of the philosophy of art education, which are based on a new perspective on a human being, which also involves a deeper understanding of the aims and forms of artistic pedagogy. The reflected perspective expands the space for the complex development of child personality and the stimulation of his or her creativity. The principles of methodological procedures and the openness of the system take this perspective into consideration in an explored and experimentally verified music-pedagogical model by Juraj Hatrik “The Jewel of Music”. Conceptually, this model opposes unchanging and fixed learning didactic algorithms with the philosophy of atomizing at different levels, intended only for imitation, without the possibility of anticipating and considering the number of possible connections, the effects arising from the streams, and the effects of the interrelated factors that raise the problem from different angles.

Key words: childrenʼs musical creativity, complex artistic experience, holistic perception, cognition, experiencing, artistic experience



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 02_paper.pdf

DOI: 10.2478 / RAE-2019-0002


Author(s): Karol Medňanský

Affiliation(s): Associate Professor, PhD., “University of Prešov“ from Prešov, Slovak Republic Abstract: The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.

Key words: Reformation, music, compositional activity, songs, significance, present time



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 03_paper.pdf

DOI: 10.2478 / RAE-2019-0003

Title: Music calling for social transformation: Some reflections on Poulenc’s surrealist work Le bal masqué

Author(s): Rossella Marisi

Affiliation(s): Assistant PhD., Accademia di Belle Arti from Bologna, Italy

Abstract: Grounding on Marx’s and Freud’s theories, Surrealists sought the liberation of the individual and the transformation of society. With this aim they brought together usual objects in unusual combinations, surprising the audience and giving them the opportunity to perceive reality with different eyes. This study reflects on a character of Jacob’s and Poulenc’s Le bal masqué, Mademoiselle Malvina, presented as epitome of the bourgeoisie and described in both text and music as duplicitous and superficial.

Key words: Surrealism, Breton, revolution, Mademoiselle Malvina, cantata



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 04_paper.pdf

DOI: 10.2478 / RAE-2019-0004


Author(s): Luminiţa Duţică

Affiliation(s): Professor PhD., „George Enescu” National University of Arts from Iaşi, Romania Abstract: The educational project CHOOSE MUSIC!, subtitled "for counselling and training for admission to higher education in music", was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at "George Enescu" National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within "George Enescu" National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău , Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.

Key words: educational project, teaching strategies, MasterClass, Music theory, concert



Filename: Review of Artistic Education – 10.2478 / 17 / 2019 / 05_paper.pdf

DOI: 10.2478 / RAE-2019-0005

Title: The Enescian pianistic Notes and commentaries (1st part)

Author(s): Lăcrămioara Naie

Affiliation(s): Professor PhD., „George Enescu” National University of Arts from Iaşi, Romania Abstract: Moldavian by nature and genius by vocation, maestro George Enescu remained captured in the universal consciousness as an accomplished violinist, composer and as an amazing and inspired musician – pianist which gathered in an admirable synthesis elegance, refinement, impressionist tones, romantic flames, classic – German construction, all these under the aura of a profound Romanian feeling. All the Enescian pianistic artistic creation is under the sign of the stylistic unity, of the maximal concentration of the musical substance that carry all artistic emotions and the accumulations of the modern musical expression. The generous, wide and bidding instrumental register covers the adage of “unity in diversity”.

Key words: Enescian pianistic, expressivity, instrumental technique



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 06_paper.pdf

DOI: 10.2478 / RAE-2019-0006

Title: Coordinates of the Interpretation

Author(s): Luminiţa Ciobanu

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

Abstract: In the process of study, a number of native but also acquired skills are involved which helps to progress and access to a superior artistic level. Internal hearing, sensitivity, motivation, interest, purpose and charisma are part of the native but educative capacities of the individual, as well as attention, operative thinking and memory capacity.

Key words: instrumental act, internal hearing, sensitivity, motivation, interest



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 07_paper.pdf

DOI: 10.2478 / RAE-2019-0007

Title: The problematization of the triad Style-Genre-Language in the didactic approach of the discipline The History of Music

Author(s): Loredana Viorica Iaţeşen

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

Abstract: Conventional mentality, according to which, in the teaching activities carried out during the courses of History of Music, the approach of the triad style-genre-language is performed under restrictions and in most cases in a superficial manner, the professor dealing with the usual general correlations (information regarding the epoch, biography and activity of the creator, affiliation of the musician to a certain culture of origin, the classification of the opus under discussion chronologically in the context of the composer’s work) falls into a traditional perspective on the discipline brought to our attention, a perspective that determines, following the processes of periodical or final assessment, average results and a limited feedback from students. For these reasons, it is necessary to use the modern methods of approaching the discipline, new teaching strategies in the comments and correlations on scientific content, so that the problematization of the style-genre-language triad in didactic approach of the discipline The History of Music, to generate optimal results in specific teaching and assessment activities.

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



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 08_paper.pdf

DOI: 10.2478 / RAE-2019-0008


Author(s): Gabriela Vlahopol

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

Abstract: In the music higher education, the appearance of a concept of incompatibility between the performance practice and the studentsʼ theoretical and analytical training is a phenomenon with multiple consequences on their training, on the way of organizing a curriculum and a hierarchical deformed attitude on the different subjects in the curriculum.This study summarizes some of the arguments that emphasize the role played by the study of the Music Analysis in developing the musicianʼs ability to understand music from the perspective of the compositional conception, to discover its importance as a stage in the formation of an original performance concept while highlighting the advantages of a collaborative approach between the two areas of training of the musician.

Keywords: musical analysis, performance, teaching methods



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 0 9_paper.pdf

DOI: 10.2478 / RAE-2019-0009


Author(s): Cristina Simionescu

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

Abstract: A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.

Key words: opera, vocals parts, comic



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 10_paper.pdf

DOI: 10.2478 / RAE-2019-0010

Title: The piano, a perfect musical instrument – beginnings and evolution (18th – 19th centuries)

Author(s): Brînduşa Tudor

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

Abstract: The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.

Key words: piano, 18th century, 19th century, piano emergence, piano improvement



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 11_paper.pdf

DOI: 10.2478 / RAE-2019-0011


Author(s): Ciprian Ion

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

Abstract: This article introduces the problems that could emerge when undertaking to organize a children symphony orchestra, but also the means of surmounting them. The stress falls on the difficult mission of establishing the specific hierarchy (part master, placement on desks, choosing the concert-maestro), action that proves to be extremely delicate taking into consideration the age category we refer to. Moreover, we pursue the indication of the stages that should be taken into account in order to obtain an independent, functional and adaptable ensemble, given the limited time period until the public show. After choosing the members of the hard core of the ensemble, it is recommended that the master shall empower and present the tasks that one must meet. Thus, the qualities that the chosen children should take into consideration for the purpose of avoiding certain stressed moment or certain syncopes for the optimal operation of the orchestra are presented. Once the premises for a good operation have the created, the professor can transfer certain tasks to the students (tuning, settling the bows, part study, etc.) having as an effect the efficiency of going through the programme under the conditions of a deadline which cannot be exceeded. Furthermore, several recommendations regarding the psychological training of the children for the purpose of surmounting the stress factor specific to any public interpretation are presented.

Key words: orchestra, children, hierarchy, ensemble, psychology



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 12_paper.pdf

DOI: 10.2478 / RAE-2019-0012

Title: The Cherubic Hymn in the Romanian Choral Creation

Author(s): George Dumitriu

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

Abstract: The Cherubic Hymn (gr.) o heroubikos ymnos) was introduced in the Byzantine Liturgy in the 5th century, by a decree of Emperor Justin the 2nd, issued in 574. The document stated the replacement of an old psalm, once sang during the offering of bread and wine gifts at the altar by the church-goers (ofertorium), with the new hymn. The replacement of the ofertoriumului ritual with the one of Presentation of the Euharistic Gifts (the Great Exodus) and the introduction of associated memorials, determined the fragmentation of the hymn in two different parts. Initially sang monodically, the introduction of the art of chorale in the Orthodox Church determined the development of this liturgical singing in two parts with a different musical nature, based on the principle of contrast: Cherubic, in large tempo (Adagio) and That we may receive the King in moderate tempo (Moderato). The first induces an atmosphere of mystical chastity, leads to introversion, and the second is a glory hymn, imposing and majestic. Literary, The Cherubic consists of the following three sentences, which determined the subsequent form of homonym choral creations,

We, who mystically represent the Cherubim,/

And chant the thrice-holy hymn to the Life-giving Trinity.

Let us set aside the cares of life,

Followed by another two sentences and the threefold repetition of the ovation “Hallelujah!”, which form the second hymn:

That we may receive the King of all!

Who comes invisibly escorted by the Divine Hosts!

Hallelujah, Hallelujah, Hallelujah!

In the Romanian liturgical chorale creation the Cherubic hymn bears the following stylistic directions: 1. of Slavic influence; 2. of Classical-Romantic inspiration; 3. which capitalizes the Byzantine church singing.

Key words: Cherubic Hymn, Orthodox Church, homonym choral creations



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 13_paper.pdf

DOI: 10.2478 / RAE-2019-0013


Author(s): Marina Caliga

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

Abstract: Musical pedagogy has a long way of training and development. Over the decades, we can follow schools, systems and personalities through which this area is grounded. Based on various factors, such as the geographical location, the purpose of the system or school pursued, the possibilities of interpretation, the contemporary musical pedagogy enumerates well-known personalities, on whose researches this field is based. Dm. Kabalevsky's name and his successors notably record in the musical-educational system of the Republic of Moldova.

Key words: musical pedagogy, musical educational systems, well-known personalities, Dm. Kabalevsky



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 14_paper.pdf

DOI: 10.2478 / RAE-2019-0014


Author(s): Consuela Radu-Țaga

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

Abstract: Pascal Bentoiu dedicated to the lyrical stage three opuses: the comedy The Love Doctor, the radio opera The Sacrifice of Iphigenia and the tragedy Hamlet. The female choir from The Sacrifice of Iphigenia and the choir from Hamlet use different ways of vocal expression, adapted to vibrations of the word: from recitative chanting or spoken chorus, to melodic articulations. The hegemony of the vocal parameter and the lyrical expression are counterpoised by the feverishness of the dramatic moments. Pascal Bentoiu proposes new elements in the structure of the opera genre, because in Hamlet the conceptual meanings of the overture are replaced by the choral prelude à cappella. The moments of choral treatment à cappella abound in his operas, these moments being full of emotion and expressing a deep sensitivity.

Key words: comedy, radio opera, tragedy, vibration of the word, choral ensemble



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 15_paper.pdf

DOI: 10.2478 / RAE-2019-0015

Title: Sigismund Toduţă. Component portrait

Author(s): Marta Burduloi

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

Abstract: The figure of the composer Sigismund Toduţă is among those creators whose style, although having a constant evolution towards complexity over several creative periods, remains essentially unitary from a stylistic point of view, rendering it recognizable by constant compositional masterpieces throughout his entire work.[1] The existence of a significant number of studies, articles, analyses, integrated in various journalistic contexts (magazines, lexicons, doctoral theses), concerning various aspects of Toduţă creation, has made it possible to outline even from the beginning a general picture of the composer's style, a valuable starting point for deepening the research in the spirit of the chosen theme.

Key words: originality, creativity, Romanian music



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 16_paper.pdf

DOI: 10.2478 / RAE-2019-0016


Author(s): Daniel Dragomirescu

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

Abstract: In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar's ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience's sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, "the best of all" as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes" considers this would have an ironic character. "Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six".[2]

Key words: guitar, prelude, style and guitar performance



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 17_paper.pdf

DOI: 10.2478 / RAE-2019-0017


Author(s): Eva Kušnírova

Affiliation(s): Assistant PhD., “University of Prešov“ from Prešov, Slovak Republic

Abstract: Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.

Key words: theatre workshop, amateur theatre, theatre communication, theatre production, theatre creation



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 18_paper.pdf

DOI: 10.2478 / RAE-2019-0018


Author(s): Cristina Todi

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

Abstract. The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.

Key words: Arts, ballet, dance, dialogue, aesthetic



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 19_paper.pdf

DOI: 10.2478 / RAE-2019-0019

Title: The relationship between talent and success in theatre and sport

Author(s): Ana-Cristina Leșe

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

Abstract: The origin of success must be sought in man, in his abilities. In the approached theme, we pay attention towards the athlete and the actor, in the beginning of their career, when the selection because of physic, mental and artistic abilities is made. The inborn need for the endowment of the athlete and actor seems to be a qualitative one and not a quantitative one. What we inherit, the talent is and always has been contested in sports or art.

Key words: theater, sport, talent, success



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 20_paper.pdf

DOI: 10.2478 / RAE-2019-0020

Title: The Female Artist In Romanian Inter-War Theater

Author(s): Carmen Antochi

Affiliation(s): Doctoral Candidate, "George Enescu" National University of Arts from Iaşi, Romania

Abstract: In Romania at the beginning of the twentieth century women were concerned with the home environment. In an urban environment, however, there had been a re-alignment towards education, women from affluent families having an artistic preoccupation, with them being determined and epochal. Though loved and admired on the stage, the women who embraced an artistic career were not looked upon with total respect by the society as a whole, because they were straying away from 'their calling'. The opening towards the occident had lit the flame in our womens hearts to reach equality in rights, to occupy a place in society and to fight a prejudice image.

Key words: the female artist, feminism, inter-war theatre



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 21_paper.pdf

DOI: 10.2478 / RAE-2019-0021


Author(s): Alice Florentin

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

Abstract: In the preparation of"complete actors" only the technical aspects are not decisive, they will not only train them for the level of mastery. Aerobic exercises, forexample, can only play a part in recreation and muscular development, but when we talk about the scenic movement that uses actors' preparation, the situation changes; the future actor has to work out physical exercises by passing through the mental as well as the spiritual filter. Each student should think about how the exercises indicated by the teacher feel in their bodies, the reception may be different from the way the teacher / college actors / dancers experience the movement. In this context, the student is the only expert in what he likes to do with the movements indicated by the one in front of him, or what emotions are evoked when he experiences a choreographic phrase. This makes the study of acting or dance a form of art, and the difference is given by their inner experiences. the uniqueness of the body on the move."

Key words: pedagogy, acting, body expression



Filename: Review of Artistic Education - 10.2478 / 17 / 2019 / 22_paper.pdf

DOI: 10.2478 / RAE-2019-0022

Title: Methods of achieving stylistic unity between portrait, costume, and the theatre play space

Author(s): Mihai Cosmin Iaţesen

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

Abstract: Creating stylistic unity within a theatre play is more than just a complex process. The original interpretation of the language forms, specific to each artist that becomes part of this creative act, lies within the final aesthetic product. This article starts by analysing the concept of form and movement as a result of syncretism on various levels, from style and movement, to expression and feelings. To achieve this, the author describes the aesthethics of form emphasising the meaning of stylistic unity in achieving the artistic vision of a show. The paper defines compositional laws and theatrical methods that make the muppet play become a harmonic visual ensemble and stylistic unity. Some of these are: stage props and background; the kinetic criterion of moving forms; the ergonomic criterion of forms in space; the criterion of materiality - in creating the clothing and the costume design.

Keys words: form, space, portrait, costume, theatre play


[1] MagazineMuzica, no.6, 1965 - p.24

[2] Turibio Santos, Heitor Villa-Lobos and the guitar, originally published by the Museu Villa-Lobos, 1975, first published in English by Wise Owl Music, Gurtnacloona, Bantry, Co.Cork, Ireland,1985, p.31


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