REVIEW OF ARTISTIC EDUCATION
Volume 1 / Number 9 / Year 2015
PART I
MUSIC
1.THE DYNAMIC MUSICOLOGY AS A CURRENT TREND IN THE THEORY OF MUSIC
Ion Gagim, Professor PhD Hab., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The purpose of communication is to present a system of principles that constitute the high school course Introduction to dynamic musicology - a subject that is taught to future musicians / teachers of music and it is a consideration, a generalization, an actualization of the basic theories of musicology science and their interpretation in the context of the modern paradigm of scientific knowledge, as well as in terms of its active use in musical education and performing practice in the vocational and general music education system with appropriate adaptation. The given principles are formulated and developed by the author as a result of thinking / rethinking the basic traditional positions of musicology focusing on modern views of music as a spiritual phenomenon on topical issues of human initiation of the XXIst century to one of the highest manifestations of culture.
Key words: dynamics / dynamism, relationship, function, intra sonorous, dynamic musicology, principle, written form of music, sonorous form of the music, auditory music analysis, meta musicological
2. NATIONAL AND UNIVERSAL TRENDS IN THE MODERN SYSTEM OF MUSIC EDUCATION IN MOLDOVA
Margarita Tetelea Associate Professor PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The system of music education in Moldova has its own history and traditions that have emerged and developed in a particular historical and social context. Throughout its development, it functioned as a certain integrity with its specific characteristics. At the present stage, music education in Moldova as a system includes all the necessary components, relating to the content, purpose, structure that have been established in the course of historical transformations, the reforms of the secondary and higher education, the reorganization of the concept of music education. This study is an attempt to reveal the characteristics of these changes, to identify the main trends in the development and establishment of modern conceptual model of music education in Moldova under the influence of national and universal ideas of progressive teachers of music.
Key words: music education, teacher of music, purpose, structure, content, the national element, the universal element, reform, theoretical model
3. THE TEXTBOOK OF MUSICAL EDUCATION AT SCHOOL DEBUT
Marina Morari Associate Professor PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The content and structure of the school textbook of Musical Education reveals the Concept of Musical Education in the institutions of general education. A textbook addressed to a child that cannot read, write, calculate, etc. should reunite means specific to the artistic field in the exposure of the content elements: titles, images, figures, texts. The principles of organization and exposure of the content in the textbook page should reflect the children’s psycho-physiological possibilities, the fields of musical education (audition, interpretation, creation, reflection) and the concentric principle of the layout. The article contains the description of some innovative elements in the concept, content and didactic technologies of the musical education textbook for the first grade in the Republic of Moldova.
Key words: the musical education textbook, school debut, the concept of musical education, the functions of the textbook, the technologies of the school textbook
4. THE INTERPRETIVE PERFORMANCE AS A RESULT OF MUSICAL AND ARTISTIC COGNITION
Lilia Graneţkaia Associate Professor PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The present paper deals with the problem of artistic cognition as a mean of artistic communication. This process is indispensable for decoding and revealing a sense, an image, an artistic content conceived in musical compositions by the composer. In the article are proposed and touched upon different types of musical cognition from the perspective of piano study: scientific, “dilettante” (amateur), artistic and pedagogical cognition. The author highlights the importance of introducing them in the study and the interpretation of musical compositions and solves some educational issues in the classroom of musical instruments. It is also worth mentioning that the artistic cognition is essential in the formation of the interpretative competence of the future music teacher.
Key words: communication arts, piano repertoire, musical knowledge
5. IULIA BUCESCU – BASES OF MUSICAL TEACHING: NOVELTY - ORIGINALITY – CREATIVITY
Luminiţa Duţică Associated Professor PhD, „George Enescu” University of Arts from Iaşi of Romania
Abstract: Iulia Bucescu, professor at the University of Arts „George Enescu” Iaşi, was one of the greatest educators of the Romanian musical education field. A remarkable personality of the academic musical life, Iulia Bucescu was renowned especially for her ars docendi, as she served the musical didactic skillfully, with a lot of passion, tenacity and knowledge. She was also a master of musical experiments, thus obtaining exceptional results with her disciples. Her methods, her own system of tools for the formation and improvement of musical skills, her mastership and educational experience find their relevance in the volumes of Music Theory, Solfeggio and Musical Dictation which are to be presented in this scientific paper.
Key words: Iulia Bucescu, didactic methods, theory of music, solfeggio, dictation
6. THE METHODOLOGICAL MODEL OF MUSICAL KNOWLEDGE TEACHING-FORMATION AT PUPILS
Viorica Crişciuc Lecturer PhD., „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The teaching and the formation of musical knowledge is not only a pedagogical act of knowledge transmission, but also an act of deep experience of music, of sonorous message perception, of investigation and discovery of the truth. Thus in this process the pupil is not only receiver, but also the confirming subject of musical work ─ the one who finds out/discovers/creates the truth, operating the mechanism of musical cognition ─ the comparison, the generalization and the application of musical knowledge. Thus, we anticipated the development of the experiment formation with the elaboration of a model of teaching and formation of musical knowledge to primary school pupils.
Key words: teaching and formation of knowledge, musical knowledge, specific strategies, the mechanism of cognition
7. THE CONCEPT OF MUSIC INTROSPECTION AT MUSIC EDUCATION LESSON
Marina Caliga Lecturer, Doctoral Candidate, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: Music education is a way of integration / reflection of reality through different genres of art. Also music leads you to facts, characterizing relationships through emotions, leaving a deep impress. This study approaches the thesis of incorporation of music lesson through music internalization by the teacher and students. Specificity of methodology of music exteriorization is known as a mood, as a dynamic process, becoming an instrument of control and exploitation of personalities of students in class, integrated through these activities. Experimental validation, aims the formation of internalization skills of music to students during the lesson, integrated by music-teaching activities.
Key words: music internalization, psychic processes, integrated personality, music lesson
8. PSYCHOPEDAGOGICAL AND MUSICOLOGICAL GUIDELINES OF CURRICULUM ELABORATION FOR THE MUSICAL AND ARTISTIC EDUCATION
Tatiana Bularga Associate Professor PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract. This article presents the project of regulatory documents for the elaboration of the general curriculum of the artistic education. They propose a system of key-positions, thought in such a way, to settle down the elaboration of effective curricular pieces for the development of children with special artistic potential. The principle of centering the educational process on the child is in the centre of attention of this project, having the aim to develop the musical and artistic potential of each child/pupil. We hope that the elaborations displayed in this article will help teachers to orient themselves in planning and organization of the musical educational process in an effective way on the basis of some new pedagogical visions on the unique personality of each child.
Key words: training/education of musically endowed children, development of potential,educational framework, regulatory positions, planning, organization of the educational process
9. DIDACTIC GAME - AS PART OF ENCOURAGEMENT AND DEVELOPMENT OF STUDENTS’ CREATIVITY AT THE LESSONS OF SOLFEGGIO
Mîndrilă Tamara Teacher, Music and Pedagogical College, from Bălţi, Republic of Moldavia
Abstract: Complementarity Solfeggio, Music theory, Dictation disciplines - organic integrated to the discipline with methods and techniques - also agist differentiated interdisciplinary structure with decisive role in creating a complex and effective system of elements of stimulation and development of student creativity. The didactic game at solfeggio lesson - comes as a support, which integrates taught content, to develop student creativity.
Key words: didactic game, solfeggio discipline, students creativity
10. MOVING TOWARDS OR AWAY FROM A SHARED EUROPEAN IDENTITY: INTERSECTIONS BETWEEN POLITICS, CHRISTIANITY, AND MUSIC
Rossella Marisi Doctoral Candidate, Italy, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Many politicians and academics consider European identity as rooted in Christian values. Two main questions arise from this assumption: does the refusal of Christian roots undermine the political identity of Europe? do unbelievers miss the understanding of music deeply connected with the Christian message, in this way undermining also the cultural identity of Europe? This study analyzes these themes, focusing in particular on the role music can play, both in the cultural and in the political field, in order to reconcile believers’ and unbelievers’ positions.
Key words: Bach, beauty, cultural identity, Gestalt, shared values
11. FROM PREEMINENCE TO BALANCE: A COMPARATIVE VIEW BETWEEN COURT DECISIONS AND VIOLIN-KEYBOARD SONATAS
Flavia Marisi Doctoral Candidate, Ghent University from Ghent of Belgium
Abstract: In past centuries, the sonatas for violin and keyboard showed a strong preeminence of one instrument over the other: sometimes the violin was assigned the leading role, and sometimes it was subordinated to the keyboard. Yet Mozart and Beethoven worked out a completely new concept promoting a balanced dialogue between the two instruments. In a similar way, the past decisions of the Court of Justice of the European Union and those of the Constitutional Courts of some Member States could be read as struggling for the competence of being the ultimate source of authority, whereas the most recent ones show an “ongoing conversation” through mutual reception of the respective decisions. This study offers a comparative view between the musical and the legal fields, trying to highlight specific analogies which connect them together.
Key words: balance, Constitutional Court, ECJ, hierarchy, violin-keyboard sonata
12. THE INTELLECTUAL DIMENSION OF THE MUSICAL-ARTISTIC PERFORMANCE
Vladimir Babii Professor PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The author points out the process of the listener’s intro-opening to the musical art, event which engages all the person’s spiritual resources. It includes the volitive effort, backed by the intellectual component which is in a continuous dynamic growth. In author’s opinion the vocal knowledge of world and the knowledge of one’s own nature should be centered on the action to hear the conscience and to follow it, especially in the artistic field.
Key words: conscience, vocal knowledge, performance, artistic intro-opening, intelligence, stimulation-response.
13. MOTIVATION AS AN IMPORTANT ELEMENT OF MUSIC EDUCATION
Marina Cosumov Lecturer PhD, „Alecu Russo” State University from Bălţi, Republic of Moldavia
Abstract: The content of education in postmodernist society is a strategic resource of the human continuous development, in a space and time determined from the historical, cultural, social and economic points of view.The conceptual improvement of music extracurricular environment will promote the concern for the field of music education in order to assure an efficient continuity by pursuing an evolution and succession of the independent affirmation process from teleological perspective in self-correlation with the music environment existing everywhere. The extracurricular music motivation activity turns the pupil from a simple receiver/customer of external music influences into an active and selected subject, with an own interior determinism in choosing and releasing adequate music attitudes.
Key words: standing music education, extracurricular music environment, music context, independent music cognition.
14. TEHNICAL AND INTERPRETIVE MENTAL CONCEPT
Luminita Guţanu Lecturer PhD. “Spiru Haret” University from Bucharest of Romania
Abstract: The artistic act must be expressed technically and interpretatively. In the process of interpretation of achoral work, the conductor’s mission is to attain a unity between the technical and artistic aspects. Attaining this unity is possible only when the conductor has established a mental approach of the work (the Technical Mental Approach and the Performing Mental Approach), which they can achieve after going through two stages: The syntactical – morphological analysis (SMA) and the Choral – Vocal Analysis (CVA).
Key words: Sintactical-Morphological Analysis, Vocal-choral Analysis, conductor choir, Tehnical Mental Approach, Performing Mental Approach
15. PEDAGOGICAL IMPLICATIONS IN APPROACHING MUSIC
Loredana Viorica Iațeșen Lecturer PhD, “George Enescu” University of Arts from Iaşi of Romania
Abstract: Inaugurated as early as the 18th century (more precisely in 1722), with the birth of the journal entitled Critica musica - an important daily newspaper in which various composers of that time commented on their own creations - and continued by the attitude remarks and ideas on the validity of the value judgment of Romantic creators like Robert Schumann, Hector Berlioz, Franz Liszt, Richard Wagner, etc., music criticism developed in the 20th century as a branch of musicology. Being a form of pondering on the complexity of the sound phenomenon considered in its three-fold structure – creation-performance-reception – music criticism becomes a valid field when it begins to be practiced in the written press or in all the other media channels, by professional musicians in the true meaning of the word, with solid general-cultural and musicological training, capable of uttering well-substantiated opinions on the meaning or style of a piece of music in first audition, of apprising and judging the performance of an opus in a particular interpretative variant, and of contributing to the education of the audience and to the training of musical tastes in a coherent and responsible manner.
Numerous comments, which appeared in English lexicographic volumes (Encyclopedia Britannica, The New Grove Dictionary of Music and Musicians), in various papers in French encyclopedias (Musiques Une Encyclopédie pour le XXI siècle coordinated by J.J. Nattiez, in Paul Griffiths’ work entitled Objectifs et impacts de la critique musicale) or in Romanian references (Muzicologia şi Jurnalismul. Muzica clasică în media românescă de după 1989 coordinated by Prof. Dr. Laura Vasiliu) and more, increasingly contributed to the individual development of this fascinating field. The purpose of our paper is not to achieve an actual history of music criticism, which would only be possible further to thorough research. Relying on the synthesis of relevant chronological and stylistic information related to the object of our research, we will attempt, by the transposition of this phenomenon in the teaching world, to prove the possible evolution of music criticism genres in a natural sequence and relation, from presentation – annotation – essay – review, to interview – opinion piece – column – portrait. In our opinion, this sequence contributes to their clarification, meaning that they may be immediately and professionally applied in music journalism.
Key words: musicology, music criticism, music journalism, history, style, genre
16. TRADITIONAL AND INNOVATIVE METHODS OF TEACHING FORMS AND MUSICAL ANALYSIS
Gabriela Vlahopol Lecturer PhD, “George Enescu” University of Arts from Iași of Romania
Abstract: The use of creative teaching methods, whether traditional or modern, represents an unlimited potential to improve the quality of education, but also a way to stimulate interest in the study at both levels of teacher-student partnership. The discipline Forms and musical analysis has several peculiarities concerning the organization of the teaching process, that can raise real problems when accessing and assimilating information. In order to increase accessibility to the informational content implied by the discipline Forms and Musical Analysis, and with the purpose to stimulate interest of its students to acquire it, balance is needed in organizing the teaching tools, combining traditional teaching methods with modern approach strategies, innovative, often taken from fields other than related to music.
Keywords: methods, teaching, active learning, innovative strategies
17. MUSICAL EXPERIENCE AS PREDICTIVE FACTOR OF AESTHETIC REACTION: A REVIEW OF LITERATURE
Dorina Iușcă Lecturer PhD, “George Enescu” University of Arts, Iași, Romania
Abstract: During the last decades, a growing body of research has focused on the psychological and educational factors affecting the aesthetic reaction to musical stimuli. Many studies have shown that musicians and non-musicians tend to react differently to certain genres of music (country, twentieth century symphonic music, choral music). These significant differences may be due to familiarity with a specific genre, but mostly to the musical practice within a determined musical domain. The present theoretical research concentrates on several key experiments that proved that musical experience is an important factor regarding people’s aesthetic reaction. Educational implications of these findings are discussed in the concluding remarks.
Key words: aesthetic reaction, musical experience
18. GORDONIAN IMPLICATIONS IN POLISH MUSIC PEDAGOGY: BYDGOSZCZ SCHOOL MODEL
Paweł Adam Trzos Assistant PhD, Kazimierz Wielki University from Bydgoszcz of Poland
Abstract: Theory of universal music learning, according to Gordon, is mostly directed at teachers. The text aims at showing the aspect of the application of E. E. Gordon's theory into early music education teacher's professional training in Kazimierz Wielki University in Bydgoszcz in Poland. The author recognises the importance of shaping research competences of future teachers as they help students use not only practical (pedagogical), but also methodological and empirical work of E.E. Gordon's theory. The text presents also the conclusion from research on the application of E.E. Gordon's Theory of Music Learning, carried out by students of early school and music education in Kazimierz Wielki University in Bydgoszcz in Poland. It is important to emphasise the fact that research has been conducted according to Gordon's procedures. Researching the Gordonian implications in Polish music education refers to its selected elements within the range of application of research problems, theoretical implications and selected diagnostics solutions in early music education (also E.E. Gordon's tools). The main idea of the text revolves around more and more popular aspect of making university and teachers training innovations and relations very practical (in Polish universal music education). Such expectations are taken into consideration in Muzopolis project - described in this text - from its begining has been the field of practical and empirical application of the elements of E.E. Gordon's theory with the use of staff and student team cooperating in the Faculty of Music Pedagogy of the Kazimierz Wielki University in Bydgoszcz environment
Key words: Theory of Music Learning by E.E. Gordon, applicability, action research, audiation, music aptitudes, informal music guidance, early music education model
19. DIVERSITY IN PIANO SIGHT-READING: PREPARATORY INVESTIGATION
Tomoko Siromoto Independent scholar PhD, from London of United Kingdom and Japan
Abstract: Pianists of intermediate and advanced levels have previously been tested sight-reading different styles of piano pieces in Japan and Romania The outcome vaguely indicated that the general fluency possibly not being the foremost importance as it is in the UK. A fuller analysis therefore has been undertaken, using the data from the test and the follow up questionnaires. From this small scale research, the Japanese subjects reasonably valued general fluency while not necessarily have achieved, and Romanian subjects probably did not value it very much. This confirmed possibly different practices of sight-reading between countries.
Key words: piano sight-reading, music education, comparative education.
20. THE TYPOLOGY OF PROSOMOIA IN BYZANTINE MUSIC. AUXILIARY TOOLS TO MEMORIZE PROSOMOIA IN THEIR ORIGINAL METRIC PATTERN
Adrian Sîrbu Assistant, Doctoral Candidate, “George Enescu” University of Arts from Iaşi of Romania
Abstract: In byzantine music, most chants are based on the prosomoia troparia, which follow the pattern of automela troparia. In the original language in which they were composed, namely in ancient Greek, hymnographers (Saint John Damascene, Saint Romanos the Melodist, Saint Andrew from Crete, and others) managed, with a remarkable ability, to synthesize the dogmatic meanings and to ensure the same prosody structure of the prosomoia, according to the automela model melodies. This explains the fact that, in the process of teaching and learning melodies that draw on the original metric, the text of any troparion would always be sufficient to reproduce exactly the melody of the model, without resorting to musical neumes.The translation of liturgical texts in Romanian could not follow the rhythmic pattern of the original automela. Therefore, the translation of the troparia has led to inaccurate musical execution, the interpreter being forced to improvise, to the detriment of the original musical form. The present study offers a few practical solutions to facilitate the process of learning the automela, starting from a better matching of Romanian texts to the original melodies. Also, it proposes an interdisciplinary vision which consists in using the notions of formal analysis to understand the logic of the melodic discourse, which could facilitate the memorising of automela melodies.
Key words: byzantine music, hymnology, prosomoion, troparion, prosody, formal analysis
21. MUSIC AND CLASS CLIMATE IN LOWER SECONDARY EDUCATION
Eva Králová Assistant PhD, “Alexander Dubček University“ from Trenčín of Slovak Republic, Maciej Kołodziejski Associate Professor, PhD Hab., “Academy of Humanities” from Pułtusk of Poland
Abstract: The authors focus on positive improvement of class climate by using musical activities as educational tool in another school subjects. The use of musical activities in educational process contributes to positive class climate in lower secondary education, mainly to better relationships between pupils and the other participants of educational process, to their social integration, contentedness, co-operation, communication, and success. The study introduces the research results of how music affects the class climate in 11-12 year old elementary school pupils. A seven-month intervention programme consisting of music activities was integrated in English lessons and background music in art lessons at an experimental class of tested group of pubescents.
Key words: class climate, musical activities, musical ability and aptitude, lower secondary education
22. POTENCY OF MUSIC AND MOVEMENT STIMULATION IN THE HEALTH CARE OF PATIENTS WITH PARKINSON´S DISEASE
Nikoleta Poliaková Assistant PhD., “Alexander Dubček University“ from Trenčín of Slovak Republic
Eva Králová Assistant PhD., “Alexander Dubček University“ from Trenčín of Slovak Republic
Abstract: The study presents the research results aimed at the survey of how music and movement stimulation improves the health condition of patient with Parkinson´s disease (PD). It is a chronic, slowly developing neurological disease, which essentially does not shorten the life of the patient but it impairs its quality. Clinical manifestations of the disease are tremor, stiffness, reduced movement, impaired gait, speech disorders, vegetative and mental disorders. Pharmacological therapy can decelerate the disease, but cannot stop it. The research aim of the study is to determine the potency of music and movement stimulation to improve motor abilities of patients with Parkinson's disease. Research sample represent three female patients suffering from PD for 3-5 years with expressed representative symptoms. The research results of qualitative study prove the potency of music and movement stimulation, applied within 10 and 20 days, on reducing the muscle tension, tremor, improvement of self-care, and stabilisation of patients´ mental condition. Music can be the key to better quality of life in patients with PD.
Key words: music therapy, music and movement activation, Parkinson´s disease, physiotherapy, self-care, experiment
